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Study Finds College President Searches Favor White Men, Offers Strategies for Change
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A Tribute to a California DJ Who Connected Lovers on the Air for 80 Years
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Oakland Writers Ayodele Nzinga and Leila Mottley
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The Loss of My Family's Farm Is a Loss for California's Japanese Agricultural Legacy
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"title": "'We Have to Be Our Own Shield': SF's LGBTQ+ Community Honors Victims of the Pulse and Club Q Shootings in New Memorial",
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"content": "\u003cp>As you step onto the second floor of San Francisco’s \u003ca href=\"https://www.sfcenter.org/\">LGBT Center\u003c/a>, a large metal sculpture meets your eye. \u003ci>Aegis\u003c/i> is San Francisco artist Wilson Ferreira’s memorial to the 49 people who were killed in a shooting at the Pulse nightclub in Orlando, Florida, in 2016, the most violent attack against the LGBTQ+ community in U.S. history.\u003c/p>\n\u003cp>\u003ci>Aegis\u003c/i> — which draws its name from a divine form of protection in Greek mythology — resembles a V-shaped shield, encasing a metal rainbow flag. The lower half of the shield is covered in dozens of small perforations, so you can see the colors of the rainbow through the holes. As you move around the piece, the shield seems to shift, the colors dancing on a fixed surface.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"forum_2010101891418,news_11933264,arts_13916204\"]Ferreira unveiled the sculpture on Dec. 7 at a reception hosted by the San Francisco LGBT Center and AGUILAS, an advocacy and resource group for LGBTQ+ Latinx people. It was a long time coming: Back in 2017, the San Francisco Board of Supervisors set aside $10,000 for a public memorial to honor the victims of the shooting. Four years later, Ferreira unveiled \u003ci>Aegis\u003c/i> in a moment when violence against queer people is once again on the rise, only weeks after \u003ca href=\"https://www.kqed.org/news/11932900/what-we-know-about-the-shooting-at-a-colorado-springs-lgbtq-club\">the shooting that killed nine people at Club Q\u003c/a>, an LGBTQ+ club in Colorado Springs.\u003c/p>\n\u003cp>\u003cem>Aegis\u003c/em> is intended not just to honor those who lost their lives at Pulse, but also to protect the living who remain vulnerable to anti-LGBTQ+ violence, Ferreira says. “This shield cannot be destroyed because it protects you, me, all of us,” he says. “It gives us the protection to move forward, despite resistance.”\u003c/p>\n\u003cp>Ferreira, originally from Brazil, is the first gay Brazilian artist to create a public memorial in the city. He says that he’s experienced discrimination in both Brazil and the U.S., and he felt the tragedy at Pulse deeply. Many of those who lost their lives at Pulse were queer Latinx people who sought to create a space without queerphobic, racist or xenophobic aggression.\u003c/p>\n\u003cfigure id=\"attachment_11935653\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11935653\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram-800x590.jpg\" alt=\"a young-looking, bald Latino man with a dark brown mustache and goatee, wearing a brown shirt and coat, smiles in front of a metal and rainbow-hued sculpture hanging on a blue interior wall. The sculpture is roughly a couple feet wide and 6 inches taller than a nearby doorframe.\" width=\"500\" height=\"369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram.jpg 962w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wilson Ferreira is the first gay Brazilian artist to create a public memorial in San Francisco. \u003ccite>(sfaguilas/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As gay men, we know how much we are subjected to violence,” he says. “Our community, the LGBTQIA+ community, has suffered prejudice and violence every single day — unchecked homophobia, unchecked violence.”\u003c/p>\n\u003cp>The sculpture’s sleek, vertical design takes the eyes upward to the top of the shield, where the rainbow banner peeks out near the ceiling. Ferreira says he wanted the piece to link the terrestrial and celestial planes. The intention behind each subtle detail — the dozens of perforations that grow smaller and fade away as you move up the piece, for example — make it clear that we are now in a place to mourn and remember.\u003c/p>\n\u003cp>The San Francisco LGBT Center already is home to several significant works of art by LGBTQ+ artists, including \u003ci>Queeroes\u003c/i>, the mural by artists Juan Manuel Carmona and Simón Malvaez on the building’s exterior that features key figures in the movement for queer liberation, like Sylvia Rivera and Marsha P. Johnson.\u003c/p>\n\u003cp>Only a few days before the \u003ci>Aegis\u003c/i> unveiling, Rita Wantings started their new job at the San Francisco LGBT Center as a services navigator. Originally from Colorado, Wantings came to San Francisco to find a place where they would be understood and not judged for their identity or experiences as a queer person of color.\u003c/p>\n\u003cfigure id=\"attachment_11935646\" class=\"wp-caption alignright\" style=\"max-width: 344px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11935646\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-800x1200.png\" alt=\"A gold and rainbow-colored metal sculpture hanging on a blue wall.\" width=\"344\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/598A0453-800x1200.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/598A0453-1020x1530.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/598A0453-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/598A0453-1024x1536.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/598A0453-1365x2048.png 1365w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/598A0453-1920x2880.png 1920w\" sizes=\"(max-width: 344px) 100vw, 344px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Aegis,’ by Wilson Ferreira, draws its name from a divine form of protection in Greek mythology. \u003ccite>(Courtesy of the SF LGBT Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back in Colorado, Wantings says, they were judged and ridiculed for their pronouns. “Out here I don’t feel like that. I feel very protected out here,” they say. “I feel seen. I feel heard. I feel valid.”\u003c/p>\n\u003cp>And even though they have only been in the Bay for a short period of time, Wantings says they have already formed deep connections. “I don’t even want to call them friends. I call them my chosen family — people who see me, who identify in similar ways as what I identify,” they say.\u003c/p>\n\u003cp>That chosen family has become their shield, Wantings says, so \u003ci>Aegis\u003c/i> reminds them of the care and protection they receive from the community. They point to their bag, which reads “Protect Black women.”\u003c/p>\n\u003cp>Colorado will always be their home, Wantings says. But they add that the Club Q shooting in Colorado Springs hit close to home — literally. They are still working through their grief.\u003c/p>\n\u003cp>“That’s actually somewhere I’ve been,” they say. “I’ve experienced that place. It was a beautiful place, I’ve seen drag shows there.” Throughout these difficult emotions, they’ve leaned on their new chosen family in the Bay Area.\u003c/p>\n\u003cp>“We have to be our own shield,” they say.\u003c/p>\n\u003cp>\u003cem>Correction (Dec. 19): The original version of this story incorrectly stated the year of the Pulse nightclub shooting as 2017. The event occurred June 12, 2016. The year has since been corrected.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As you step onto the second floor of San Francisco’s \u003ca href=\"https://www.sfcenter.org/\">LGBT Center\u003c/a>, a large metal sculpture meets your eye. \u003ci>Aegis\u003c/i> is San Francisco artist Wilson Ferreira’s memorial to the 49 people who were killed in a shooting at the Pulse nightclub in Orlando, Florida, in 2016, the most violent attack against the LGBTQ+ community in U.S. history.\u003c/p>\n\u003cp>\u003ci>Aegis\u003c/i> — which draws its name from a divine form of protection in Greek mythology — resembles a V-shaped shield, encasing a metal rainbow flag. The lower half of the shield is covered in dozens of small perforations, so you can see the colors of the rainbow through the holes. As you move around the piece, the shield seems to shift, the colors dancing on a fixed surface.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ferreira unveiled the sculpture on Dec. 7 at a reception hosted by the San Francisco LGBT Center and AGUILAS, an advocacy and resource group for LGBTQ+ Latinx people. It was a long time coming: Back in 2017, the San Francisco Board of Supervisors set aside $10,000 for a public memorial to honor the victims of the shooting. Four years later, Ferreira unveiled \u003ci>Aegis\u003c/i> in a moment when violence against queer people is once again on the rise, only weeks after \u003ca href=\"https://www.kqed.org/news/11932900/what-we-know-about-the-shooting-at-a-colorado-springs-lgbtq-club\">the shooting that killed nine people at Club Q\u003c/a>, an LGBTQ+ club in Colorado Springs.\u003c/p>\n\u003cp>\u003cem>Aegis\u003c/em> is intended not just to honor those who lost their lives at Pulse, but also to protect the living who remain vulnerable to anti-LGBTQ+ violence, Ferreira says. “This shield cannot be destroyed because it protects you, me, all of us,” he says. “It gives us the protection to move forward, despite resistance.”\u003c/p>\n\u003cp>Ferreira, originally from Brazil, is the first gay Brazilian artist to create a public memorial in the city. He says that he’s experienced discrimination in both Brazil and the U.S., and he felt the tragedy at Pulse deeply. Many of those who lost their lives at Pulse were queer Latinx people who sought to create a space without queerphobic, racist or xenophobic aggression.\u003c/p>\n\u003cfigure id=\"attachment_11935653\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11935653\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram-800x590.jpg\" alt=\"a young-looking, bald Latino man with a dark brown mustache and goatee, wearing a brown shirt and coat, smiles in front of a metal and rainbow-hued sculpture hanging on a blue interior wall. The sculpture is roughly a couple feet wide and 6 inches taller than a nearby doorframe.\" width=\"500\" height=\"369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram.jpg 962w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wilson Ferreira is the first gay Brazilian artist to create a public memorial in San Francisco. \u003ccite>(sfaguilas/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As gay men, we know how much we are subjected to violence,” he says. “Our community, the LGBTQIA+ community, has suffered prejudice and violence every single day — unchecked homophobia, unchecked violence.”\u003c/p>\n\u003cp>The sculpture’s sleek, vertical design takes the eyes upward to the top of the shield, where the rainbow banner peeks out near the ceiling. Ferreira says he wanted the piece to link the terrestrial and celestial planes. The intention behind each subtle detail — the dozens of perforations that grow smaller and fade away as you move up the piece, for example — make it clear that we are now in a place to mourn and remember.\u003c/p>\n\u003cp>The San Francisco LGBT Center already is home to several significant works of art by LGBTQ+ artists, including \u003ci>Queeroes\u003c/i>, the mural by artists Juan Manuel Carmona and Simón Malvaez on the building’s exterior that features key figures in the movement for queer liberation, like Sylvia Rivera and Marsha P. Johnson.\u003c/p>\n\u003cp>Only a few days before the \u003ci>Aegis\u003c/i> unveiling, Rita Wantings started their new job at the San Francisco LGBT Center as a services navigator. Originally from Colorado, Wantings came to San Francisco to find a place where they would be understood and not judged for their identity or experiences as a queer person of color.\u003c/p>\n\u003cfigure id=\"attachment_11935646\" class=\"wp-caption alignright\" style=\"max-width: 344px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11935646\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-800x1200.png\" alt=\"A gold and rainbow-colored metal sculpture hanging on a blue wall.\" width=\"344\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/598A0453-800x1200.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/598A0453-1020x1530.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/598A0453-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/598A0453-1024x1536.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/598A0453-1365x2048.png 1365w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/598A0453-1920x2880.png 1920w\" sizes=\"(max-width: 344px) 100vw, 344px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Aegis,’ by Wilson Ferreira, draws its name from a divine form of protection in Greek mythology. \u003ccite>(Courtesy of the SF LGBT Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back in Colorado, Wantings says, they were judged and ridiculed for their pronouns. “Out here I don’t feel like that. I feel very protected out here,” they say. “I feel seen. I feel heard. I feel valid.”\u003c/p>\n\u003cp>And even though they have only been in the Bay for a short period of time, Wantings says they have already formed deep connections. “I don’t even want to call them friends. I call them my chosen family — people who see me, who identify in similar ways as what I identify,” they say.\u003c/p>\n\u003cp>That chosen family has become their shield, Wantings says, so \u003ci>Aegis\u003c/i> reminds them of the care and protection they receive from the community. They point to their bag, which reads “Protect Black women.”\u003c/p>\n\u003cp>Colorado will always be their home, Wantings says. But they add that the Club Q shooting in Colorado Springs hit close to home — literally. They are still working through their grief.\u003c/p>\n\u003cp>“That’s actually somewhere I’ve been,” they say. “I’ve experienced that place. It was a beautiful place, I’ve seen drag shows there.” Throughout these difficult emotions, they’ve leaned on their new chosen family in the Bay Area.\u003c/p>\n\u003cp>“We have to be our own shield,” they say.\u003c/p>\n\u003cp>\u003cem>Correction (Dec. 19): The original version of this story incorrectly stated the year of the Pulse nightclub shooting as 2017. The event occurred June 12, 2016. The year has since been corrected.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If the \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\">Castro Theatre\u003c/a> didn’t exist, then neither would Sophia Padilla.\u003c/p>\n\u003cp>“I always joke that I was conceived at the Castro Theatre,” said the San Francisco resident, who happened to be passing by the iconic, one-hundred-year-old movie palace on a recent afternoon while out walking her dog.\u003c/p>\n\u003cp>Padilla said her parents first met in line to see a movie at the theater, 27 years ago.\u003c/p>\n\u003cp>“Both of them were on dates with other people, actually,” Padilla said. “They fell in love right here. And I’ve been coming to the Castro to see movies for my entire 26-year life.”\u003c/p>\n\u003cp>Padilla also said the Castro Theatre helped to forge her queer identity.\u003c/p>\n\u003cp>“The Castro really helped me find who I was,” she said.\u003c/p>\n\u003cfigure id=\"attachment_11934113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-scaled.jpe\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11934113\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-800x600.jpe\" alt=\"a woman in a green jacket poses with her dog in front of a historic movie theater\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-2048x1536.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-1920x1440.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco resident and movie fan Sophia Padilla poses outside the Castro Theatre with her dog. \u003ccite>(Chloe Veltman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Located in the heart of one of the country’s most high-profile LGBTQ neighborhoods, the Castro Theatre has played a prominent role in San Francisco’s cultural and social evolution for decades.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13917362,forum_2010101890364,news_11922643\"]Besides hosting major film festivals like the San Francisco International Film Festival and the San Francisco Silent Film Festival, the venue has long been a bastion of queer cinema and community events. Highlights include the first ever public screening of the 2008 movie \u003cem>Milk\u003c/em> about the pioneering openly gay politician Harvey Milk, the annual Frameline queer movie festival, and an abundance of drag performance nights.\u003c/p>\n\u003cp>“The Castro Theatre is like a sacred temple for the community,” said \u003ca href=\"https://castrolgbtq.org/\">Castro LGBTQ Cultural District \u003c/a>board member Jesse Sanford. “It’s where we gather to laugh together, cry together, learn our history, and mourn our losses.”\u003c/p>\n\u003cp>But the recent purchase of the theater’s lease by \u003ca href=\"https://apeconcerts.com/\">Another Planet Entertainment\u003c/a>, which operates a handful of mostly music-oriented venues and festivals around the San Francisco Bay Area, has led to a struggle for the theater’s future.\u003c/p>\n\u003cp>“Another Planet’s plan will mean that films rarely get shown, and community events rarely happen,” said Sanford.\u003c/p>\n\u003ch2>Conservationists push back\u003c/h2>\n\u003cp>The Castro LGBTQ Cultural District is one of several local groups pushing back against Another Planet’s plans to refocus the venue’s programming and make sweeping renovations.\u003c/p>\n\u003cp>“This is a hundred-year-old theater. You can’t just change it any way you want,” said Peter Pastreich, executive director of the \u003ca href=\"https://www.savethecastrotheatre.org/\">Castro Theatre Conservancy\u003c/a>, a group that was formed three years ago to address concerns about the increasingly dilapidated state of the building.\u003c/p>\n\u003cfigure id=\"attachment_11934114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-scaled.jpe\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11934114\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-800x600.jpe\" alt=\"an older man in a dark blue suit with a white beard and glasses smiles in front of a theater\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-2048x1536.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-1920x1440.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Castro Theatre Conservancy executive director Peter Pastreich at the Castro Theatre. \u003ccite>(Chloe Veltman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pastreich said his group welcomes some of the proposed upgrades, such as putting in wheelchair access and a new HVAC system, and touching up the interior’s grand mural’d walls, chandeliers and leather-effect ceiling. He estimates renovating the theater would cost $20-30 million.\u003c/p>\n\u003cp>“We aren’t opposed to Another Planet or anybody else who will renovate the theater and keep it open,” Pastreich said.\u003c/p>\n\u003ch2>It all comes down to the seating\u003c/h2>\n\u003cp>The activists’ main point of contention is the leaseholder’s plans for the theater’s seating.\u003c/p>\n\u003cp>“The plans are to take out the seats and level the floor, which would make the theater no longer appropriate for movies,” Pastreich says.\u003c/p>\n\u003cp>Thousands of people, including many celebrities like Francis Ford Coppola, Alice Waters and Tilda Swinton, have signed the conservancy’s petition to prevent Another Planet’s renovations from going ahead.\u003c/p>\n\u003cp>The building is already in-part protected. The City of San Francisco gave landmark status to the exterior in 1977. Now these activists are trying to get the city to expand the designation to include the building’s interior. If that happens, it will be much harder for the leaseholder to rip out the theater’s 1400 seats, and flatten the floor.\u003c/p>\n\u003cfigure id=\"attachment_11934115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-scaled.jpe\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11934115\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-800x534.jpe\" alt=\"the interior of an ornate historic movie theatre with red seats and a chandelier\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-800x534.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-1020x680.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-1536x1025.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-2048x1366.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-1920x1281.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre’s interior. \u003ccite>(Andrew Rosas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Changing the seating is a big deal,” said \u003ca href=\"http://www.mlambrosphotography.com/\">Matt Lambros\u003c/a>, a Boston-based photographer of historic movie theaters who has written several books on the topic. “You could ruin the sight-lines.”\u003c/p>\n\u003cp>There are a few thousand old, single-screen movie palaces like the Castro still in operation in the U.S. today, down from tens of thousands in their pre-World-War-II heyday.\u003c/p>\n\u003cp>Lambros said in order for these cinemas to survive, the seating has to do more than accommodate movie-goers.\u003c/p>\n\u003cp>“There’s interest in restoring these places,” he said. “The issue is, you have to find something that will bring people. For the most part, unfortunately, a 1500-or 2000-seat theater showing films, that’s just not viable.”\u003c/p>\n\u003cp>Those who want the theater’s seating plan to remain intact point out that the Castro has hosted all kinds of non-movie events over the years.\u003c/p>\n\u003cp>“It is possible to have the theater be conducive to movie-going and concert-going and comedy and spoken word presentations and community meetings,” said \u003ca href=\"https://silentfilm.org/\">San Francisco Silent Film Festival\u003c/a> director Anita Monga. “All of that is possible with the existing seats and same configuration.”\u003c/p>\n\u003ch2>Another Planet pushes ahead\u003c/h2>\n\u003cp>Another Planet spokesman Alex Tourk said that despite its plan to remove the movie-style seating, the company is committed to honoring the theater’s legacy. “They absolutely want to continue to show film,” Tourk said. “They committed to making sure that 25% of programming would be dedicated to the LGBTQ community.”\u003c/p>\n\u003cp>He said the company has been shocked by all the pushback, given its solid reputation as a concert and festival producer, and its plan to put $15 million towards renovating the theater. “Another Planet did expect some opposition,” he said. “But the level of vitriol has been beyond the pale.”\u003c/p>\n\u003cp>Tourk said even if the landmark designation for the theater’s interior goes ahead next year, Another Planet will not, at least for now, be deterred.\u003c/p>\n\u003cp>“Another Planet will continue to work with the city to find consensus and move the vision forward.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fight+over+seats+could+define+future+of+iconic+San+Francisco+movie+theater+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\">Castro Theatre\u003c/a> didn’t exist, then neither would Sophia Padilla.\u003c/p>\n\u003cp>“I always joke that I was conceived at the Castro Theatre,” said the San Francisco resident, who happened to be passing by the iconic, one-hundred-year-old movie palace on a recent afternoon while out walking her dog.\u003c/p>\n\u003cp>Padilla said her parents first met in line to see a movie at the theater, 27 years ago.\u003c/p>\n\u003cp>“Both of them were on dates with other people, actually,” Padilla said. “They fell in love right here. And I’ve been coming to the Castro to see movies for my entire 26-year life.”\u003c/p>\n\u003cp>Padilla also said the Castro Theatre helped to forge her queer identity.\u003c/p>\n\u003cp>“The Castro really helped me find who I was,” she said.\u003c/p>\n\u003cfigure id=\"attachment_11934113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-scaled.jpe\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11934113\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-800x600.jpe\" alt=\"a woman in a green jacket poses with her dog in front of a historic movie theater\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-2048x1536.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/sophiapadilla-772b04087ecf02b3dd7e016b4374740bef8f659c-1920x1440.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco resident and movie fan Sophia Padilla poses outside the Castro Theatre with her dog. \u003ccite>(Chloe Veltman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Located in the heart of one of the country’s most high-profile LGBTQ neighborhoods, the Castro Theatre has played a prominent role in San Francisco’s cultural and social evolution for decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Besides hosting major film festivals like the San Francisco International Film Festival and the San Francisco Silent Film Festival, the venue has long been a bastion of queer cinema and community events. Highlights include the first ever public screening of the 2008 movie \u003cem>Milk\u003c/em> about the pioneering openly gay politician Harvey Milk, the annual Frameline queer movie festival, and an abundance of drag performance nights.\u003c/p>\n\u003cp>“The Castro Theatre is like a sacred temple for the community,” said \u003ca href=\"https://castrolgbtq.org/\">Castro LGBTQ Cultural District \u003c/a>board member Jesse Sanford. “It’s where we gather to laugh together, cry together, learn our history, and mourn our losses.”\u003c/p>\n\u003cp>But the recent purchase of the theater’s lease by \u003ca href=\"https://apeconcerts.com/\">Another Planet Entertainment\u003c/a>, which operates a handful of mostly music-oriented venues and festivals around the San Francisco Bay Area, has led to a struggle for the theater’s future.\u003c/p>\n\u003cp>“Another Planet’s plan will mean that films rarely get shown, and community events rarely happen,” said Sanford.\u003c/p>\n\u003ch2>Conservationists push back\u003c/h2>\n\u003cp>The Castro LGBTQ Cultural District is one of several local groups pushing back against Another Planet’s plans to refocus the venue’s programming and make sweeping renovations.\u003c/p>\n\u003cp>“This is a hundred-year-old theater. You can’t just change it any way you want,” said Peter Pastreich, executive director of the \u003ca href=\"https://www.savethecastrotheatre.org/\">Castro Theatre Conservancy\u003c/a>, a group that was formed three years ago to address concerns about the increasingly dilapidated state of the building.\u003c/p>\n\u003cfigure id=\"attachment_11934114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-scaled.jpe\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11934114\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-800x600.jpe\" alt=\"an older man in a dark blue suit with a white beard and glasses smiles in front of a theater\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-2048x1536.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/img_7616-320ab002f413ff743466e70ddc947dff99d2c84d-1920x1440.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Castro Theatre Conservancy executive director Peter Pastreich at the Castro Theatre. \u003ccite>(Chloe Veltman/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pastreich said his group welcomes some of the proposed upgrades, such as putting in wheelchair access and a new HVAC system, and touching up the interior’s grand mural’d walls, chandeliers and leather-effect ceiling. He estimates renovating the theater would cost $20-30 million.\u003c/p>\n\u003cp>“We aren’t opposed to Another Planet or anybody else who will renovate the theater and keep it open,” Pastreich said.\u003c/p>\n\u003ch2>It all comes down to the seating\u003c/h2>\n\u003cp>The activists’ main point of contention is the leaseholder’s plans for the theater’s seating.\u003c/p>\n\u003cp>“The plans are to take out the seats and level the floor, which would make the theater no longer appropriate for movies,” Pastreich says.\u003c/p>\n\u003cp>Thousands of people, including many celebrities like Francis Ford Coppola, Alice Waters and Tilda Swinton, have signed the conservancy’s petition to prevent Another Planet’s renovations from going ahead.\u003c/p>\n\u003cp>The building is already in-part protected. The City of San Francisco gave landmark status to the exterior in 1977. Now these activists are trying to get the city to expand the designation to include the building’s interior. If that happens, it will be much harder for the leaseholder to rip out the theater’s 1400 seats, and flatten the floor.\u003c/p>\n\u003cfigure id=\"attachment_11934115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-scaled.jpe\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11934115\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-800x534.jpe\" alt=\"the interior of an ornate historic movie theatre with red seats and a chandelier\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-800x534.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-1020x680.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-1536x1025.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-2048x1366.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-1920x1281.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre’s interior. \u003ccite>(Andrew Rosas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Changing the seating is a big deal,” said \u003ca href=\"http://www.mlambrosphotography.com/\">Matt Lambros\u003c/a>, a Boston-based photographer of historic movie theaters who has written several books on the topic. “You could ruin the sight-lines.”\u003c/p>\n\u003cp>There are a few thousand old, single-screen movie palaces like the Castro still in operation in the U.S. today, down from tens of thousands in their pre-World-War-II heyday.\u003c/p>\n\u003cp>Lambros said in order for these cinemas to survive, the seating has to do more than accommodate movie-goers.\u003c/p>\n\u003cp>“There’s interest in restoring these places,” he said. “The issue is, you have to find something that will bring people. For the most part, unfortunately, a 1500-or 2000-seat theater showing films, that’s just not viable.”\u003c/p>\n\u003cp>Those who want the theater’s seating plan to remain intact point out that the Castro has hosted all kinds of non-movie events over the years.\u003c/p>\n\u003cp>“It is possible to have the theater be conducive to movie-going and concert-going and comedy and spoken word presentations and community meetings,” said \u003ca href=\"https://silentfilm.org/\">San Francisco Silent Film Festival\u003c/a> director Anita Monga. “All of that is possible with the existing seats and same configuration.”\u003c/p>\n\u003ch2>Another Planet pushes ahead\u003c/h2>\n\u003cp>Another Planet spokesman Alex Tourk said that despite its plan to remove the movie-style seating, the company is committed to honoring the theater’s legacy. “They absolutely want to continue to show film,” Tourk said. “They committed to making sure that 25% of programming would be dedicated to the LGBTQ community.”\u003c/p>\n\u003cp>He said the company has been shocked by all the pushback, given its solid reputation as a concert and festival producer, and its plan to put $15 million towards renovating the theater. “Another Planet did expect some opposition,” he said. “But the level of vitriol has been beyond the pale.”\u003c/p>\n\u003cp>Tourk said even if the landmark designation for the theater’s interior goes ahead next year, Another Planet will not, at least for now, be deterred.\u003c/p>\n\u003cp>“Another Planet will continue to work with the city to find consensus and move the vision forward.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fight+over+seats+could+define+future+of+iconic+San+Francisco+movie+theater+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'We Dance United': Aztec Dance Troupes Preserve a Proud Heritage for Bay Area's Latinx Community",
"title": "'We Dance United': Aztec Dance Troupes Preserve a Proud Heritage for Bay Area's Latinx Community",
"headTitle": "The California Report Magazine | KQED News",
"content": "\u003cp>This week, communities across California celebrated Día de los Muertos, or Day of the Dead, with processions and ceremonies honoring the loved ones they've lost. In San Francisco’s Mission District, festivities kicked off with Aztec dance troupes blessing altars on 24th Street.\u003c/p>\n\u003cp>“You were born in these traditions and this is what's going to surround you to the day you die,” said Chabela Sanchez, who performs with Danza Azteca Xitlalli and has danced in events like these for more than 30 years. “You will be surrounded by the ancestors and prayer in this way. So we're going to bless you with the ceremony.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For some Mexican Americans, Aztec dancing helps them feel connected to their Indigenous roots. But if you see a performance and notice a crucifix being held or a guitarist strumming religious hymns in Spanish, those are European symbols and traditions.\u003c/p>\n\u003cp>“So even though there's a Catholic image behind it, there's that syncretism of why it had to be,” said Sanchez. “To be able to survive and be preserved.”[pullquote align=\"right\" size=\"medium\" citation=\"Roberto Vargas, Aztec dancer\"]'Danza represents the cosmos, and the cosmos has an order.'[/pullquote]\u003ca href=\"https://www.mexicolore.co.uk/aztecs/spanish-invasion/syncretism-aztec-christians\">Syncretism\u003c/a>, Sanchez explained, is the blending of two contradictory religious traditions. To keep dance traditions, Aztec performers trying to protect their Indigenous spiritual roots often concealed them under the guise of Catholicism, which helped divert unwanted hostility from Spanish colonizers.\u003c/p>\n\u003cp>These days some Indigenous people with roots in Latin America still practice some aspects of Catholicism as well as Indigenous traditions, and many Aztec troupes reflect a melding of those two religious traditions in their ceremonies throughout the year.\u003c/p>\n\u003ch2>Xilonen ceremony\u003c/h2>\n\u003cp>In addition to Day of the Dead festivities, Aztec dancers perform at ceremonies throughout the year. During the summer solstice, drummers and dancers are key to the Xilonen, or the ceremony of the young corn, which is a coming-of-age ceremony for Latinx teenagers.\u003c/p>\n\u003cp>“It really is kind of an Aztec quinceañera,” said Sanchez. “Our girls run from ages 13 to 17.”\u003c/p>\n\u003cp>At this summer’s Xilonen in the SOMA neighborhood of San Francisco, different dance troupes, each in their own matching Indigenous regalia, performed at a local park as part of an event hosted by Danza Azteca Xitlalli. Five teens in white knee-length dresses donned colorful feathers on their wrists and crowns made of corn husks, as Aztec dancers encircled them.\u003c/p>\n\u003cp>The Xilonen ceremony is one of many annual cultural milestones hosted by an Aztec dance troupe rather than by a family or a church.\u003c/p>\n\u003ch2>Dancing nonstop for 30 hours\u003c/h2>\n\u003cp>At least five Aztec dance troupes in San Francisco perform their own ceremonies throughout the year.\u003c/p>\n\u003cp>It can be a big commitment for the dancers, who sometimes get called at a moment’s notice to support a birth or death ceremony.\u003c/p>\n\u003cp>“One of the kids that grew up here on the street died,” said Louie Gutierrez, director of Danza Azteca Coyolxauhqui, who lives in the Mission. “So they wanted to do a ritual for them, burn some sage, some copal.”\u003c/p>\n\u003cfigure id=\"attachment_11931036\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg class=\"size-full wp-image-11931036\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-scaled.jpg\" alt=\"Aztec dancer in traditional dresswith head raised dances with others in a Mission District alley surrounded by colorful murals\" width=\"2560\" height=\"1703\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-1536x1022.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-2048x1363.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-1920x1278.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Louie Gutierrez (foreground), director of Danza Azteca Coyolxauhqui, and other Aztec dancers commemorate the Day of the Virgin Guadalupe by dancing in front of murals depicting the Virgin of Guadalupe around the Mission District during Paseo \u003cem>Artístico\u003c/em> on Dec. 9, 2017. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a typical ceremony, performers may dance for 30 hours with breaks for prayer and food. There’s one annual event in December — a Catholic tribute to the Virgin Mary — where Gutierrez and his dancemates dance nonstop for an entire day.\u003c/p>\n\u003cp>Dancers show up for these marathon late-night events and practices while juggling full-time jobs. Gutierrez \u003ca href=\"https://www.facebook.com/profile.php?id=100057615303390\">runs the popular La Reyna bakery in the Mission\u003c/a>. But showing up for his community as a dancer is an unpaid gig.\u003c/p>\n\u003ch2>Generals and captains\u003c/h2>\n\u003cp>Aztec dance groups are organized in \u003ca href=\"https://www.facebook.com/profile.php?id=100057615303390\">strict hierarchies\u003c/a>. Here’s how it works: Each dance group has a sergeant who reports to a regional captain, and the captains report to the highest-ranking position in Aztec dance: an Aztec dance general. That person is usually someone living in Mexico.\u003c/p>\n\u003cp>Sanchez's husband, Roberto Vargas, also a longtime Aztec dancer, explained how the strict militaristic order of command helps everyone dance in unison.[pullquote align=\"right\" size=\"medium\" citation=\"Louie Gutierrez, director, Danza Azteca Coyolxauhqui\"]'The point of dancing is to bring health and well-being.'[/pullquote]“Danza represents the cosmos, and the cosmos has an order,” said Vargas.\u003c/p>\n\u003cp>\u003ca href=\"http://mexicayotl.org/our-board/\">The Aztec dance higher-ups — the generals in Mexico\u003c/a> — set the rules and the tone on how dancing should be performed and on which events dance troupes are allowed to participate in. For a long time, Vargas said, the elders have shied away from participating in political events or protests.\u003c/p>\n\u003cp>“They don't want to align themselves with politicos because somebody could be cool one day and the next day, not cool,” he explained. “So you can't be affiliating with people who are wishy-washy, so it's sort of like the spiritual mission is more important than any political [one].”\u003c/p>\n\u003ch2>A history of violence against dancers\u003c/h2>\n\u003cp>Another big reason why many Azteca dancers have avoided protests is because historical violence has been etched into their memory.\u003c/p>\n\u003cp>Vargas remembers the Tlatelolco massacre in the days before the 1968 Summer Olympics in Mexico. Eyewitnesses say government forces opened fire on student protesters, killing hundreds. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=97546687\">The tragedy and its aftermath had a chilling effect on student activists and cultural performers.\u003c/a>\u003c/p>\n\u003cp>“Over there [in Mexico], they have memories of once again people being killed,” said Vargas. “You risk your life standing up against the government.”\u003c/p>\n\u003cp>That comes on top of historical violence against Indigenous people — including dancers — since colonization.\u003c/p>\n\u003cp>“During the early years of bringing the danza out to the public, people were getting attacked and jailed and killed for practicing these traditions,” explained Vargas.\u003c/p>\n\u003cfigure id=\"attachment_11930976\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11930976 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/11/RS51910_083_SanFrancisco_IndigenousPeoplesDay_10112021-qut.jpg\" alt=\"An Aztec dancer in colorful feathered head dresses garb plays a traditional percussion instrument as another dancer stands in the background on a lawn surrounded by onlookers\" width=\"1920\" height=\"1278\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/11/RS51910_083_SanFrancisco_IndigenousPeoplesDay_10112021-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/RS51910_083_SanFrancisco_IndigenousPeoplesDay_10112021-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/RS51910_083_SanFrancisco_IndigenousPeoplesDay_10112021-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/RS51910_083_SanFrancisco_IndigenousPeoplesDay_10112021-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/RS51910_083_SanFrancisco_IndigenousPeoplesDay_10112021-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Teokalli Aztec Dancers from the Bay Area and Mexico City dance during the third annual Indigenous Peoples Day Commemoration at Yerba Buena Gardens in San Francisco on Oct. 11, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in the U.S., Sanchez said, many dancers see performing as an inherently political act because they are reclaiming their Indigenous cultural identity.\u003c/p>\n\u003cp>A number of troupes, for example, performed at the \u003ca href=\"https://www.sfgate.com/bayarea/article/Indians-gather-on-Alcatraz-in-memory-of-occupation-5019944.php\">Indigenous Peoples Day Sunrise Gathering\u003c/a> last month, an event that challenges centuries of colonization and genocide with a gathering on Alcatraz Island that features both Aztec and Native American dancers.\u003c/p>\n\u003cp>“The point of dancing is to bring health and well-being,” said Gutierrez, adding that dancing has helped him focus his energy in a positive direction. It’s a huge part of his quest for a healthier lifestyle and of his spiritual journey.\u003c/p>\n\u003cp>Gutierrez and Sanchez are always keeping an eye out, scouting for the next generation of dancers to carry on this tradition. They know it may take a while for younger dancers to fully understand how vital they are to the community.\u003c/p>\n\u003cp>When you see a Danza Azteca performance and you feel pulled in by the dancers, Sanchez said, that’s your heart being conquered. You want to be a part of it. She recited the motto that guides all Aztec dancers: \"Union, conformidad y conquista.\"\u003c/p>\n\u003cp>Loosely translated, it means: We dance united, we dance together.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "As California Latinos celebrate Día de Los Muertos, which remembers loved ones who have died, many processions include a blessing ceremony by Aztec dance troupes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, communities across California celebrated Día de los Muertos, or Day of the Dead, with processions and ceremonies honoring the loved ones they've lost. In San Francisco’s Mission District, festivities kicked off with Aztec dance troupes blessing altars on 24th Street.\u003c/p>\n\u003cp>“You were born in these traditions and this is what's going to surround you to the day you die,” said Chabela Sanchez, who performs with Danza Azteca Xitlalli and has danced in events like these for more than 30 years. “You will be surrounded by the ancestors and prayer in this way. So we're going to bless you with the ceremony.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For some Mexican Americans, Aztec dancing helps them feel connected to their Indigenous roots. But if you see a performance and notice a crucifix being held or a guitarist strumming religious hymns in Spanish, those are European symbols and traditions.\u003c/p>\n\u003cp>“So even though there's a Catholic image behind it, there's that syncretism of why it had to be,” said Sanchez. “To be able to survive and be preserved.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.mexicolore.co.uk/aztecs/spanish-invasion/syncretism-aztec-christians\">Syncretism\u003c/a>, Sanchez explained, is the blending of two contradictory religious traditions. To keep dance traditions, Aztec performers trying to protect their Indigenous spiritual roots often concealed them under the guise of Catholicism, which helped divert unwanted hostility from Spanish colonizers.\u003c/p>\n\u003cp>These days some Indigenous people with roots in Latin America still practice some aspects of Catholicism as well as Indigenous traditions, and many Aztec troupes reflect a melding of those two religious traditions in their ceremonies throughout the year.\u003c/p>\n\u003ch2>Xilonen ceremony\u003c/h2>\n\u003cp>In addition to Day of the Dead festivities, Aztec dancers perform at ceremonies throughout the year. During the summer solstice, drummers and dancers are key to the Xilonen, or the ceremony of the young corn, which is a coming-of-age ceremony for Latinx teenagers.\u003c/p>\n\u003cp>“It really is kind of an Aztec quinceañera,” said Sanchez. “Our girls run from ages 13 to 17.”\u003c/p>\n\u003cp>At this summer’s Xilonen in the SOMA neighborhood of San Francisco, different dance troupes, each in their own matching Indigenous regalia, performed at a local park as part of an event hosted by Danza Azteca Xitlalli. Five teens in white knee-length dresses donned colorful feathers on their wrists and crowns made of corn husks, as Aztec dancers encircled them.\u003c/p>\n\u003cp>The Xilonen ceremony is one of many annual cultural milestones hosted by an Aztec dance troupe rather than by a family or a church.\u003c/p>\n\u003ch2>Dancing nonstop for 30 hours\u003c/h2>\n\u003cp>At least five Aztec dance troupes in San Francisco perform their own ceremonies throughout the year.\u003c/p>\n\u003cp>It can be a big commitment for the dancers, who sometimes get called at a moment’s notice to support a birth or death ceremony.\u003c/p>\n\u003cp>“One of the kids that grew up here on the street died,” said Louie Gutierrez, director of Danza Azteca Coyolxauhqui, who lives in the Mission. “So they wanted to do a ritual for them, burn some sage, some copal.”\u003c/p>\n\u003cfigure id=\"attachment_11931036\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg class=\"size-full wp-image-11931036\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-scaled.jpg\" alt=\"Aztec dancer in traditional dresswith head raised dances with others in a Mission District alley surrounded by colorful murals\" width=\"2560\" height=\"1703\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-1536x1022.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-2048x1363.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/012_Calle24_PaseoArtistico_12092017_7693-1920x1278.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Louie Gutierrez (foreground), director of Danza Azteca Coyolxauhqui, and other Aztec dancers commemorate the Day of the Virgin Guadalupe by dancing in front of murals depicting the Virgin of Guadalupe around the Mission District during Paseo \u003cem>Artístico\u003c/em> on Dec. 9, 2017. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a typical ceremony, performers may dance for 30 hours with breaks for prayer and food. There’s one annual event in December — a Catholic tribute to the Virgin Mary — where Gutierrez and his dancemates dance nonstop for an entire day.\u003c/p>\n\u003cp>Dancers show up for these marathon late-night events and practices while juggling full-time jobs. Gutierrez \u003ca href=\"https://www.facebook.com/profile.php?id=100057615303390\">runs the popular La Reyna bakery in the Mission\u003c/a>. But showing up for his community as a dancer is an unpaid gig.\u003c/p>\n\u003ch2>Generals and captains\u003c/h2>\n\u003cp>Aztec dance groups are organized in \u003ca href=\"https://www.facebook.com/profile.php?id=100057615303390\">strict hierarchies\u003c/a>. Here’s how it works: Each dance group has a sergeant who reports to a regional captain, and the captains report to the highest-ranking position in Aztec dance: an Aztec dance general. That person is usually someone living in Mexico.\u003c/p>\n\u003cp>Sanchez's husband, Roberto Vargas, also a longtime Aztec dancer, explained how the strict militaristic order of command helps everyone dance in unison.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Danza represents the cosmos, and the cosmos has an order,” said Vargas.\u003c/p>\n\u003cp>\u003ca href=\"http://mexicayotl.org/our-board/\">The Aztec dance higher-ups — the generals in Mexico\u003c/a> — set the rules and the tone on how dancing should be performed and on which events dance troupes are allowed to participate in. For a long time, Vargas said, the elders have shied away from participating in political events or protests.\u003c/p>\n\u003cp>“They don't want to align themselves with politicos because somebody could be cool one day and the next day, not cool,” he explained. “So you can't be affiliating with people who are wishy-washy, so it's sort of like the spiritual mission is more important than any political [one].”\u003c/p>\n\u003ch2>A history of violence against dancers\u003c/h2>\n\u003cp>Another big reason why many Azteca dancers have avoided protests is because historical violence has been etched into their memory.\u003c/p>\n\u003cp>Vargas remembers the Tlatelolco massacre in the days before the 1968 Summer Olympics in Mexico. Eyewitnesses say government forces opened fire on student protesters, killing hundreds. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=97546687\">The tragedy and its aftermath had a chilling effect on student activists and cultural performers.\u003c/a>\u003c/p>\n\u003cp>“Over there [in Mexico], they have memories of once again people being killed,” said Vargas. “You risk your life standing up against the government.”\u003c/p>\n\u003cp>That comes on top of historical violence against Indigenous people — including dancers — since colonization.\u003c/p>\n\u003cp>“During the early years of bringing the danza out to the public, people were getting attacked and jailed and killed for practicing these traditions,” explained Vargas.\u003c/p>\n\u003cfigure id=\"attachment_11930976\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11930976 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/11/RS51910_083_SanFrancisco_IndigenousPeoplesDay_10112021-qut.jpg\" alt=\"An Aztec dancer in colorful feathered head dresses garb plays a traditional percussion instrument as another dancer stands in the background on a lawn surrounded by onlookers\" width=\"1920\" height=\"1278\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/11/RS51910_083_SanFrancisco_IndigenousPeoplesDay_10112021-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/RS51910_083_SanFrancisco_IndigenousPeoplesDay_10112021-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/RS51910_083_SanFrancisco_IndigenousPeoplesDay_10112021-qut-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/RS51910_083_SanFrancisco_IndigenousPeoplesDay_10112021-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/11/RS51910_083_SanFrancisco_IndigenousPeoplesDay_10112021-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Teokalli Aztec Dancers from the Bay Area and Mexico City dance during the third annual Indigenous Peoples Day Commemoration at Yerba Buena Gardens in San Francisco on Oct. 11, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in the U.S., Sanchez said, many dancers see performing as an inherently political act because they are reclaiming their Indigenous cultural identity.\u003c/p>\n\u003cp>A number of troupes, for example, performed at the \u003ca href=\"https://www.sfgate.com/bayarea/article/Indians-gather-on-Alcatraz-in-memory-of-occupation-5019944.php\">Indigenous Peoples Day Sunrise Gathering\u003c/a> last month, an event that challenges centuries of colonization and genocide with a gathering on Alcatraz Island that features both Aztec and Native American dancers.\u003c/p>\n\u003cp>“The point of dancing is to bring health and well-being,” said Gutierrez, adding that dancing has helped him focus his energy in a positive direction. It’s a huge part of his quest for a healthier lifestyle and of his spiritual journey.\u003c/p>\n\u003cp>Gutierrez and Sanchez are always keeping an eye out, scouting for the next generation of dancers to carry on this tradition. They know it may take a while for younger dancers to fully understand how vital they are to the community.\u003c/p>\n\u003cp>When you see a Danza Azteca performance and you feel pulled in by the dancers, Sanchez said, that’s your heart being conquered. You want to be a part of it. She recited the motto that guides all Aztec dancers: \"Union, conformidad y conquista.\"\u003c/p>\n\u003cp>Loosely translated, it means: We dance united, we dance together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Study Finds College President Searches Favor White Men, Offers Strategies for Change",
"title": "Study Finds College President Searches Favor White Men, Offers Strategies for Change",
"headTitle": "KQED News",
"content": "\u003cp>At a time when California is searching for people to fill key jobs in higher education, change is critical in a selection system that favors white men, a new report concludes.\u003c/p>\n\u003cp>The student bodies of public colleges and universities have become much more diverse than they were 10 or 20 years ago, and there is an urgent need to increase these students’ success, said Estela Mara Bensimon, lead researcher on the report.\u003c/p>\n\u003cp>“We depend on these students to step into the jobs that have traditionally been occupied by white professionals,” said Bensimon, president of Bensimon and Associates and professor emerita at the University of Southern California. “There’s both a social justice urgency but also a political and economic urgency.”\u003c/p>\n\u003cp>She said California needs educational leaders who have the racial literacy and cultural competency to address students’ needs. “We’re not naive that just because you appoint a Black president, a Latinx president, Indigenous president or Pacific Islander president that automatically you get magic,” Bensimon said. “We know that it takes more than that.”[pullquote align=\"right\" size=\"medium\" citation=\"Michele Siqueiros, president, Campaign for College Opportunity\"]'We are here today to ask how do we attack a structure that is not equitable and not fair for women and candidates of color.'[/pullquote]One benefit of diverse leadership is that the increasingly diverse student body will see in their leaders someone who has experienced the same struggles in the face of systemic racism, the study said.\u003c/p>\n\u003cp>“This is not a report to push diversity for the sake of diversity. It’s pushing diversity for the sake of improving the experience of the student,” said Eloy Ortiz Oakley, president and CEO of College Futures Foundation and former chancellor of the California Community Colleges.\u003c/p>\n\u003cp>The report outlines the importance of what it calls “equity-minded” leadership: someone who understands that institutions of higher education have “been designed by whites for whites, and is therefore intentional about asking the race question as a standard practice.” Without these kinds of leaders at the top, the work of addressing racial equity won’t be fully realized throughout institutions, Oakley said.\u003c/p>\n\u003cp>College Futures Foundation commissioned the report, “\u003ca class=\"external\" href=\"https://collegefutures.org/insights/whiteness-rules-racial-exclusion-in-becoming-an-american-college-president/\" target=\"_blank\" rel=\"noopener noreferrer\">Whiteness Rules: Racial Exclusion in Becoming an American College President,\u003c/a>” and a companion piece, “Tools to Redesign Presidential Search for Racial Equity,” that walks presidential search teams through creating a process that is equitable for candidates of color. College Futures advances college degrees for the state’s diverse students.\u003c/p>\n\u003cp>“We need presidents who have the skills — the racial literacy, the cultural competency — to be responsive to the students that we are educating,” said Bensimon.\u003c/p>\n\u003cp>But she said that competency in equity issues is not a part of the conversation when searching for leaders. This hurts students, she said. She points to practices, such as remedial education at community colleges, that harm students of color who have remained in place for decades. Gov. Gavin Newsom signed a bill this year that \u003ca href=\"https://edsource.org/2022/dozens-of-community-colleges-offer-remedial-classes-bill-to-ban-them-awaits-newsoms-signature/677640\">prohibits remedial classes in all but a handful of circumstances\u003c/a>.\u003c/p>\n\u003cp>“No one asked the question of why remedial courses are mostly being taken by these students of color,” she said.\u003c/p>\n\u003cp>The report notes that this comes at a critical time when the top positions at many colleges around the state are open, as are the chancellor positions at both the California State University system and California Community Colleges. It also comes \u003ca href=\"https://edsource.org/2022/as-supreme-court-considers-affirmative-action-case-university-of-california-offers-cautionary-tale/679692\">just as the U.S. Supreme Court takes up a case\u003c/a> that calls into question the role that race plays in higher education, though through affirmative action at the admissions level.\u003c/p>\n\u003cp>The report notes that historically the top positions at colleges and universities in California have been held by white men. It notes that at some institutions, such as UCLA and Cal Poly San Luis Obispo, there have only been white men who have been chancellor or president.\u003c/p>\n\u003cp>Currently, 51% of public institutions of higher education in California have white leaders. The numbers are starker for more selective institutions: Sixty percent of leaders at the UC are white. That number is 57% in the CSU, and in community colleges it is 49%.\u003c/p>\n\u003cp>Women are also underrepresented in both the UC and community college systems, but they’re slightly overrepresented in the CSU system. In the UC system, women make up just 20% of leaders, the report states.\u003c/p>\n\u003cp>Students at California’s public universities and colleges are overwhelmingly nonwhite. CSU reported that \u003ca href=\"https://www.calstate.edu/csu-system/about-the-csu/facts-about-the-csu/enrollment/Pages/student-enrollment-demographics.aspx\">just 21.5% of its student body was non-Hispanic white\u003c/a> last fall. In California’s community colleges, that number was 24%, according to data from the California Community College Chancellor’s Office. In the UC system, \u003ca href=\"https://www.universityofcalifornia.edu/about-us/information-center/fall-enrollment-glance\">23% of students were white\u003c/a>.\u003c/p>\n\u003cp>More selective institutions, such as the UCs, take their cues from other selective institutions across the nation like Stanford, Harvard and Yale, Oakley said.\u003c/p>\n\u003cp>“You’re replicating the same type of practices that you compare yourself to,” he said.\u003c/p>\n\u003cp>There is an assumption that candidates of color don’t make it to the finish line because there are not enough qualified candidates in the pipeline. But the report outlines the ways that male whiteness is privileged at every step of the presidential search process from the job listing to the type of candidates on the radar of search firms and finally to the biases of search committees in the final selection process.\u003c/p>\n\u003cp>“Most people think that the searches are neutral and objective, but the rules that we break in this report [are] calling out how whiteness is implicated in just every step of the process,” Bensimon said. “We don’t talk about that: whiteness as credentials, whiteness as rules that directly disadvantage Black, Latinx and Indigenous candidates.”\u003c/p>\n\u003cp>The California-focused report is based on interviews with search firm consultants, trustees and community members, but the heart of the report is interviews with 36 sitting college presidents and chancellors, 20 of those with people of color. It also included an analysis of the curriculum vitae of 35 presidents and chancellors, and 38 job announcements.\u003c/p>\n\u003cp>It notes that there has been an uptick in the hiring of presidents of color nationally since the George Floyd uprising. But it questions whether this practice will hit a plateau in the same way it did during previously tumultuous times.\u003c/p>\n\u003cp>The report includes several examples of searches where there was explicit bias against candidates who weren’t white men. One search firm consultant described a trustee who said that a Black candidate from the South couldn’t move forward because they couldn’t understand a word they were saying. Another consultant said that the search committee complained that female candidates were “dowdy,” “motherly” or “like a Jewish woman.” Candidates of color describe a process of telegraphing that they have been assimilated, such as a Black woman choosing to not wear braids and speak “white.”\u003c/p>\n\u003cp>Presidents of color describe having to walk a fine line when discussing race and equity issues during the search process. There may be factions in a search team who want to hit the accelerator on improving equity, while others are resistant.\u003c/p>\n\u003cp>Oakley said the report mirrored his own experiences as the president of Long Beach City College and, most recently, the chancellor of the California Community College system. He broke down racial barriers as the first person of color in those roles, but he said he faced resistance in both roles from people who believed he wasn’t right for the role or didn’t have the correct academic pedigree.\u003c/p>\n\u003cp>“While I’m not surprised by the results because I’ve been in the industry for a long time, I am shocked to see how deep in the culture these practices are,” he said.[pullquote align=\"right\" size=\"medium\" citation=\"Eloy Ortiz Oakley, president and CEO, College Futures Foundation\"]'This is not a report to push diversity for the sake of diversity. It's pushing diversity for the sake of improving the experience of the student.'[/pullquote]One search firm consultant told researchers that candidates of color need to be the “Jackie Robinson” of presidents to be deemed worthy, qualified and ready.\u003c/p>\n\u003cp>The report outlines some practices that may seem neutral but give an advantage to white candidates.\u003c/p>\n\u003cp>For example, search committees tend to privilege candidates who come through academic affairs, a pathway that has shut out too many people of color who have other experiences, such as student affairs. A search firm consultant said faculty on the search committee objected to a Black candidate for not having the right degree and the correct institutional pedigree.\u003c/p>\n\u003cp>“[E]veryone who’s currently credentialed has 20 or 30 years of experience [and], well, we can all admit the last 20 or 30 years has not been an open invitation for everyone to have the same kinds of experiences,” said one white president.\u003c/p>\n\u003cp>There is a bias toward candidates who come from peer institutions, which limits the pool of candidates. This includes discounting those who have worked at historically Black colleges and universities and Hispanic-serving institutions, Bensimon said.\u003c/p>\n\u003cp>Michele Siqueiros, president of The Campaign for College Opportunity, said that she hopes the findings push California to offer more transparent data about the hiring process — not just for college presidents but for other leadership and faculty positions that remain disproportionately white. She added that though the report takes aim at public universities in California, she hopes independent colleges also take the report’s findings seriously.\u003c/p>\n\u003cp>“We are here today to ask how do we attack a structure that is not equitable and not fair for women and candidates of color,” she said.\u003c/p>\n\u003cp>The report outlines how the deck is stacked against candidates of color, but researcher Megan Chase said that equally important is the toolkit of solutions that the team compiled. It includes advice about how to choose a search firm, rethinking the criteria for job advertisements and taking care to choose and train the search committee.\u003c/p>\n\u003cp>“Racial equity is in the details,” said Chase. “Without drilling down into the details, it would probably not create as much change as is necessary.”\u003c/p>\n\u003cp>\u003ca href=\"https://edsource.org/2022/study-finds-college-president-searches-favor-white-men-and-offers-strategies-to-change-that/680577\">\u003cem>This story originally appeared in EdSource.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a time when California is searching for people to fill key jobs in higher education, change is critical in a selection system that favors white men, a new report concludes.\u003c/p>\n\u003cp>The student bodies of public colleges and universities have become much more diverse than they were 10 or 20 years ago, and there is an urgent need to increase these students’ success, said Estela Mara Bensimon, lead researcher on the report.\u003c/p>\n\u003cp>“We depend on these students to step into the jobs that have traditionally been occupied by white professionals,” said Bensimon, president of Bensimon and Associates and professor emerita at the University of Southern California. “There’s both a social justice urgency but also a political and economic urgency.”\u003c/p>\n\u003cp>She said California needs educational leaders who have the racial literacy and cultural competency to address students’ needs. “We’re not naive that just because you appoint a Black president, a Latinx president, Indigenous president or Pacific Islander president that automatically you get magic,” Bensimon said. “We know that it takes more than that.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One benefit of diverse leadership is that the increasingly diverse student body will see in their leaders someone who has experienced the same struggles in the face of systemic racism, the study said.\u003c/p>\n\u003cp>“This is not a report to push diversity for the sake of diversity. It’s pushing diversity for the sake of improving the experience of the student,” said Eloy Ortiz Oakley, president and CEO of College Futures Foundation and former chancellor of the California Community Colleges.\u003c/p>\n\u003cp>The report outlines the importance of what it calls “equity-minded” leadership: someone who understands that institutions of higher education have “been designed by whites for whites, and is therefore intentional about asking the race question as a standard practice.” Without these kinds of leaders at the top, the work of addressing racial equity won’t be fully realized throughout institutions, Oakley said.\u003c/p>\n\u003cp>College Futures Foundation commissioned the report, “\u003ca class=\"external\" href=\"https://collegefutures.org/insights/whiteness-rules-racial-exclusion-in-becoming-an-american-college-president/\" target=\"_blank\" rel=\"noopener noreferrer\">Whiteness Rules: Racial Exclusion in Becoming an American College President,\u003c/a>” and a companion piece, “Tools to Redesign Presidential Search for Racial Equity,” that walks presidential search teams through creating a process that is equitable for candidates of color. College Futures advances college degrees for the state’s diverse students.\u003c/p>\n\u003cp>“We need presidents who have the skills — the racial literacy, the cultural competency — to be responsive to the students that we are educating,” said Bensimon.\u003c/p>\n\u003cp>But she said that competency in equity issues is not a part of the conversation when searching for leaders. This hurts students, she said. She points to practices, such as remedial education at community colleges, that harm students of color who have remained in place for decades. Gov. Gavin Newsom signed a bill this year that \u003ca href=\"https://edsource.org/2022/dozens-of-community-colleges-offer-remedial-classes-bill-to-ban-them-awaits-newsoms-signature/677640\">prohibits remedial classes in all but a handful of circumstances\u003c/a>.\u003c/p>\n\u003cp>“No one asked the question of why remedial courses are mostly being taken by these students of color,” she said.\u003c/p>\n\u003cp>The report notes that this comes at a critical time when the top positions at many colleges around the state are open, as are the chancellor positions at both the California State University system and California Community Colleges. It also comes \u003ca href=\"https://edsource.org/2022/as-supreme-court-considers-affirmative-action-case-university-of-california-offers-cautionary-tale/679692\">just as the U.S. Supreme Court takes up a case\u003c/a> that calls into question the role that race plays in higher education, though through affirmative action at the admissions level.\u003c/p>\n\u003cp>The report notes that historically the top positions at colleges and universities in California have been held by white men. It notes that at some institutions, such as UCLA and Cal Poly San Luis Obispo, there have only been white men who have been chancellor or president.\u003c/p>\n\u003cp>Currently, 51% of public institutions of higher education in California have white leaders. The numbers are starker for more selective institutions: Sixty percent of leaders at the UC are white. That number is 57% in the CSU, and in community colleges it is 49%.\u003c/p>\n\u003cp>Women are also underrepresented in both the UC and community college systems, but they’re slightly overrepresented in the CSU system. In the UC system, women make up just 20% of leaders, the report states.\u003c/p>\n\u003cp>Students at California’s public universities and colleges are overwhelmingly nonwhite. CSU reported that \u003ca href=\"https://www.calstate.edu/csu-system/about-the-csu/facts-about-the-csu/enrollment/Pages/student-enrollment-demographics.aspx\">just 21.5% of its student body was non-Hispanic white\u003c/a> last fall. In California’s community colleges, that number was 24%, according to data from the California Community College Chancellor’s Office. In the UC system, \u003ca href=\"https://www.universityofcalifornia.edu/about-us/information-center/fall-enrollment-glance\">23% of students were white\u003c/a>.\u003c/p>\n\u003cp>More selective institutions, such as the UCs, take their cues from other selective institutions across the nation like Stanford, Harvard and Yale, Oakley said.\u003c/p>\n\u003cp>“You’re replicating the same type of practices that you compare yourself to,” he said.\u003c/p>\n\u003cp>There is an assumption that candidates of color don’t make it to the finish line because there are not enough qualified candidates in the pipeline. But the report outlines the ways that male whiteness is privileged at every step of the presidential search process from the job listing to the type of candidates on the radar of search firms and finally to the biases of search committees in the final selection process.\u003c/p>\n\u003cp>“Most people think that the searches are neutral and objective, but the rules that we break in this report [are] calling out how whiteness is implicated in just every step of the process,” Bensimon said. “We don’t talk about that: whiteness as credentials, whiteness as rules that directly disadvantage Black, Latinx and Indigenous candidates.”\u003c/p>\n\u003cp>The California-focused report is based on interviews with search firm consultants, trustees and community members, but the heart of the report is interviews with 36 sitting college presidents and chancellors, 20 of those with people of color. It also included an analysis of the curriculum vitae of 35 presidents and chancellors, and 38 job announcements.\u003c/p>\n\u003cp>It notes that there has been an uptick in the hiring of presidents of color nationally since the George Floyd uprising. But it questions whether this practice will hit a plateau in the same way it did during previously tumultuous times.\u003c/p>\n\u003cp>The report includes several examples of searches where there was explicit bias against candidates who weren’t white men. One search firm consultant described a trustee who said that a Black candidate from the South couldn’t move forward because they couldn’t understand a word they were saying. Another consultant said that the search committee complained that female candidates were “dowdy,” “motherly” or “like a Jewish woman.” Candidates of color describe a process of telegraphing that they have been assimilated, such as a Black woman choosing to not wear braids and speak “white.”\u003c/p>\n\u003cp>Presidents of color describe having to walk a fine line when discussing race and equity issues during the search process. There may be factions in a search team who want to hit the accelerator on improving equity, while others are resistant.\u003c/p>\n\u003cp>Oakley said the report mirrored his own experiences as the president of Long Beach City College and, most recently, the chancellor of the California Community College system. He broke down racial barriers as the first person of color in those roles, but he said he faced resistance in both roles from people who believed he wasn’t right for the role or didn’t have the correct academic pedigree.\u003c/p>\n\u003cp>“While I’m not surprised by the results because I’ve been in the industry for a long time, I am shocked to see how deep in the culture these practices are,” he said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One search firm consultant told researchers that candidates of color need to be the “Jackie Robinson” of presidents to be deemed worthy, qualified and ready.\u003c/p>\n\u003cp>The report outlines some practices that may seem neutral but give an advantage to white candidates.\u003c/p>\n\u003cp>For example, search committees tend to privilege candidates who come through academic affairs, a pathway that has shut out too many people of color who have other experiences, such as student affairs. A search firm consultant said faculty on the search committee objected to a Black candidate for not having the right degree and the correct institutional pedigree.\u003c/p>\n\u003cp>“[E]veryone who’s currently credentialed has 20 or 30 years of experience [and], well, we can all admit the last 20 or 30 years has not been an open invitation for everyone to have the same kinds of experiences,” said one white president.\u003c/p>\n\u003cp>There is a bias toward candidates who come from peer institutions, which limits the pool of candidates. This includes discounting those who have worked at historically Black colleges and universities and Hispanic-serving institutions, Bensimon said.\u003c/p>\n\u003cp>Michele Siqueiros, president of The Campaign for College Opportunity, said that she hopes the findings push California to offer more transparent data about the hiring process — not just for college presidents but for other leadership and faculty positions that remain disproportionately white. She added that though the report takes aim at public universities in California, she hopes independent colleges also take the report’s findings seriously.\u003c/p>\n\u003cp>“We are here today to ask how do we attack a structure that is not equitable and not fair for women and candidates of color,” she said.\u003c/p>\n\u003cp>The report outlines how the deck is stacked against candidates of color, but researcher Megan Chase said that equally important is the toolkit of solutions that the team compiled. It includes advice about how to choose a search firm, rethinking the criteria for job advertisements and taking care to choose and train the search committee.\u003c/p>\n\u003cp>“Racial equity is in the details,” said Chase. “Without drilling down into the details, it would probably not create as much change as is necessary.”\u003c/p>\n\u003cp>\u003ca href=\"https://edsource.org/2022/study-finds-college-president-searches-favor-white-men-and-offers-strategies-to-change-that/680577\">\u003cem>This story originally appeared in EdSource.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'He Wants Attention': As Elon Musk Takes Over Twitter, This Tech Insider Has Some Thoughts",
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"content": "\u003cp>It’s a done deal. Elon Musk now owns San Francisco-based Twitter. He \u003ca href=\"https://www.nytimes.com/2022/10/27/technology/elon-musk-twitter-deal-complete.html\">closed the $44 billion deal last week and quickly fired the company’s top executives\u003c/a>. Some users are already leaving the social media platform in protest, fearing a rise in hate speech — \u003ca href=\"https://www.theverge.com/2022/10/30/23431337/twitter-hateful-tweets-elon-musk-takeover-free-speech\">a fear that already proved well-founded by Monday\u003c/a>, as Yoel Roth, Twitter’s head of safety and integrity, said the platform was seeing an influx of tweets containing slurs and derogatory terms. In short, there’s quite a bit of chaos — not least because Musk himself \u003ca href=\"https://www.cnbc.com/2022/10/06/musk-seeks-to-stop-oct-17-trial-date-to-close-twitter-deal-on-original-terms.html\">tried to back out of the deal just a few weeks prior\u003c/a>. So why did he go through with it?\u003c/p>\n\u003cp>“\u003cspan data-pm-slice='1 1 [\"paragraph-wrapper\",null,\"paragraph\",{\"id\":\"p3-0\"}]'>He signed a contract,” said Jeremy Owens, technology editor and San Francisco bureau chief for MarketWatch, in a recent interview with KQED’s Tara Siler. “\u003c/span>This is one of the dumbest acquisitions since AOL Time Warner. He’s paying four or five times what Twitter is worth to own this. I’m not surprised he tried to get out of it. But, you know, there are some rules in this country that are followed. And one of them is if you sign a contract to do something, you’re probably going to have to do it.”\u003c/p>\n\u003cp>As Twitter employees, regular users, journalists and advertisers wait nervously to see what Musk will do next, there were a lot of questions on everyone’s mind, the first of which might be: Why Twitter?\u003c/p>\n\u003cp>“He wants attention,” said Owens. “We’ve seen a cavalcade of billionaires buying media outlets. But Elon especially, he just wants the spotlight on him and he finds ways to get the spotlight on him. Now he has it, we’ll see what he does with it.”\u003c/p>\n\u003cp>That’s the $44 billion question. Speculation is rife; expectations vary. Some have \u003ca href=\"https://www.latimes.com/politics/story/2022-04-25/conservatives-elon-musk-twitter\">praised the takeover as a victory for freedom of speech\u003c/a>, while others fear \u003ca href=\"https://www.washingtonpost.com/technology/2022/10/28/musk-twitter-racist-posts/\">things may already be headed for the worst\u003c/a>.[pullquote align=\"right\" size=\"medium\" citation=\"Jeremy Owens, technology editor and San Francisco bureau chief, MarketWatch\"]‘This is one of the dumbest acquisitions since AOL Time Warner.’[/pullquote]“It’s kind of impossible to know,” said Owens. “I stress to everybody they shouldn’t believe what Elon Musk says. He says a lot of things that are contradictory. A lot of them are fantastical. I mean, we’re not seeing Teslas rolling around as robotaxis making money for their owners in their sleep, like he said would be happening by now. We’re really going to have to wait and see.”\u003c/p>\n\u003cp>While Musk said he plans to create a “content moderation council” on Twitter, he has also said he would loosen the rules on what users can say on the platform, and although he has often been referred to as a libertarian, \u003ca href=\"https://www.nytimes.com/2022/04/16/business/elon-musk-politics-twitter.html\">his political views remain hazy\u003c/a>. Nevertheless, the \u003ca href=\"https://www.theverge.com/2022/10/5/23389568/musk-twitter-signal-deleted-messages-judge-ruling\">lawsuit brought against Musk by Twitter\u003c/a> after Musk rescinded his offer to buy the company in April revealed \u003ca href=\"https://www.sfgate.com/news/article/elon-musk-twitter-texts-ranked-17494691.php\">texts with friends and associates\u003c/a> that provide a premonition of things to come — both in terms of what was said and\u003ca href=\"https://nymag.com/intelligencer/2022/09/elon-musk-caught-deleting-messages-about-the-twitter-deal.html\"> what was not\u003c/a>.\u003c/p>\n\u003cp>Furthermore, Musk has praised the acquisition of right-wing social media app Parler by Ye — formerly known as Kanye West — and \u003ca href=\"https://www.npr.org/2022/10/28/1132222606/twitter-account-elon-musk-content-moderation-council\">he announced Friday that Ye’s blocked account on Twitter had been reinstated\u003c/a>, days after the singer/songwriter \u003ca href=\"https://www.npr.org/2022/10/25/1131285970/adidas-ye-kanye-west-antisemitic\">drew international ire over antisemitic remarks and comments on slavery\u003c/a>. Musk has also said Twitter was wrong to ban former President Donald Trump — who has since founded the right-wing social media platform Truth Social — after the January 6 insurrection on the U.S. Capitol. Musk stated back in May that \u003ca href=\"https://www.washingtonpost.com/technology/2022/05/10/musk-talk-twitter/\">he would restore Trump’s account\u003c/a>. Then, on October 18, Musk posted and later deleted\u003ca href=\"https://www.businessinsider.com/elon-musk-meme-kanye-donald-trump-three-musketeers-parler-2022-10\"> a meme depicting the three social media platform owners — Musk, Ye and Trump — as “The Three Musketeers,”\u003c/a> tweeting “in retrospect, it was inevitable.”\u003c/p>\n\u003cp>Although Musk has been critical of Trump’s Truth Social, calling it a “right-wing echo chamber,” the celebration of Musk’s Twitter takeover by right-wing and conservative pundits and media since Thursday has worried Twitter users that the network will become more racist, sexist and toxic. Those fears appeared well founded as, a day after Musk bought Twitter, \u003ca href=\"https://www.usnews.com/news/business/articles/2022-10-28/elon-took-over-twitter-then-some-users-began-testing-chaos\">tweets started flooding in testing whether Twitter’s misinformation policies were still in place\u003c/a>; popular right-wing personalities tweeted buzzwords such as “ivermectin” and “Trump won.”\u003c/p>\n\u003cp>In an apparent effort to address these concerns, on October 27, a day before the deadline to close the takeover deal,\u003ca href=\"https://twitter.com/elonmusk/status/1585619322239561728\"> Musk assured advertisers over Twitter\u003c/a> that the social media platform is “important to civilization” and that it “obviously cannot become a free-for-all hellscape where anything can be said with no consequences.” But advertisers weren’t so convinced, as General Motors and Ford — both of which are Tesla competitors — \u003ca href=\"https://www.forbes.com/sites/alanohnsman/2022/10/28/gm-ford-say-they-arent-running-twitter-ads-as-they-assess-changes-under-elon-musk/?sh=48c1d21c2a19\">announced they’d suspend their ads on Twitter for now\u003c/a>.[aside postID=news_11930354 hero='https://ww2.kqed.org/app/uploads/sites/10/2022/10/GettyImages-1239416791-1020x683.jpg']So far, Musk has only been firing people,\u003ca href=\"https://www.washingtonpost.com/technology/2022/10/20/musk-twitter-acquisition-staff-cuts/\"> having told prospective investors that he wanted to get rid of 75% of Twitter’s 7,500 employees and continue with a team of 2,000 \u003c/a>— something he denied in an earlier visit.\u003c/p>\n\u003cp>“The people that were fired … were the CEO, CFO, head of legal and potentially general counsel as well, the people he was battling with in the acquisition,” explained Owens from MarketWatch, saying that he doesn’t think we’re going to see major changes to the platform this week.\u003c/p>\n\u003cp>“If he wants to maintain advertising revenue, if he wants to grow the platform and convince more users to come to the platform, I think he’s going to have to be very careful how he proceeds from here,” added Owens.\u003c/p>\n\u003cp>What happens if people’s fears are realized and Twitter \u003cem>does\u003c/em> seem to resemble the “hellscape” that Musk said would never happen? Owens says there are plenty of other options for everyday users, like Mastodon, LinkedIn, Instagram and Facebook, but adds that things would be especially alarming for journalists, considering \u003ca href=\"https://www.pewresearch.org/fact-tank/2022/06/27/twitter-is-the-go-to-social-media-site-for-u-s-journalists-but-not-for-the-public/\">69% of U.S. journalists use Twitter as their preferred social media platform for work\u003c/a>, according to a recent Pew Research Center survey.\u003c/p>\n\u003cp>“Those of us who are verified on Twitter and try to combat these storms of misinformation and disinformation … if the platform does all fall apart, where does that go?” said Owens. “Where can people find legitimate information?”\u003c/p>\n\u003cp>As of Monday, Elon Musk seemed to be moving quickly with changes, including \u003ca href=\"https://www.theverge.com/2022/10/30/23431931/twitter-paid-verification-elon-musk-blue-monthly-subscription\">a plan to start charging $19.99 a month for verified users with the Twitter Blue check mark\u003c/a> — which is currently $4.99 a month — giving them 90 days to subscribe or lose their blue status. He has also \u003ca href=\"https://www.theverge.com/2022/10/30/23430008/elon-musk-twitter-homepage-subscriptions-changes\">requested that logged-out users visiting Twitter.com be redirected to the Explore page\u003c/a> that shows trending tweets and news stories. There have also been reports of \u003ca href=\"https://www.nytimes.com/2022/10/29/technology/twitter-layoffs-musk-jobs.html\">yet more layoffs\u003c/a> since the weekend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "It's early days yet with Elon Musk at the helm of the social media giant. Technology editor Jeremy Owens of MarketWatch gives us a breakdown of what's happened so far and what we can — and possibly can't — expect.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a done deal. Elon Musk now owns San Francisco-based Twitter. He \u003ca href=\"https://www.nytimes.com/2022/10/27/technology/elon-musk-twitter-deal-complete.html\">closed the $44 billion deal last week and quickly fired the company’s top executives\u003c/a>. Some users are already leaving the social media platform in protest, fearing a rise in hate speech — \u003ca href=\"https://www.theverge.com/2022/10/30/23431337/twitter-hateful-tweets-elon-musk-takeover-free-speech\">a fear that already proved well-founded by Monday\u003c/a>, as Yoel Roth, Twitter’s head of safety and integrity, said the platform was seeing an influx of tweets containing slurs and derogatory terms. In short, there’s quite a bit of chaos — not least because Musk himself \u003ca href=\"https://www.cnbc.com/2022/10/06/musk-seeks-to-stop-oct-17-trial-date-to-close-twitter-deal-on-original-terms.html\">tried to back out of the deal just a few weeks prior\u003c/a>. So why did he go through with it?\u003c/p>\n\u003cp>“\u003cspan data-pm-slice='1 1 [\"paragraph-wrapper\",null,\"paragraph\",{\"id\":\"p3-0\"}]'>He signed a contract,” said Jeremy Owens, technology editor and San Francisco bureau chief for MarketWatch, in a recent interview with KQED’s Tara Siler. “\u003c/span>This is one of the dumbest acquisitions since AOL Time Warner. He’s paying four or five times what Twitter is worth to own this. I’m not surprised he tried to get out of it. But, you know, there are some rules in this country that are followed. And one of them is if you sign a contract to do something, you’re probably going to have to do it.”\u003c/p>\n\u003cp>As Twitter employees, regular users, journalists and advertisers wait nervously to see what Musk will do next, there were a lot of questions on everyone’s mind, the first of which might be: Why Twitter?\u003c/p>\n\u003cp>“He wants attention,” said Owens. “We’ve seen a cavalcade of billionaires buying media outlets. But Elon especially, he just wants the spotlight on him and he finds ways to get the spotlight on him. Now he has it, we’ll see what he does with it.”\u003c/p>\n\u003cp>That’s the $44 billion question. Speculation is rife; expectations vary. Some have \u003ca href=\"https://www.latimes.com/politics/story/2022-04-25/conservatives-elon-musk-twitter\">praised the takeover as a victory for freedom of speech\u003c/a>, while others fear \u003ca href=\"https://www.washingtonpost.com/technology/2022/10/28/musk-twitter-racist-posts/\">things may already be headed for the worst\u003c/a>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s kind of impossible to know,” said Owens. “I stress to everybody they shouldn’t believe what Elon Musk says. He says a lot of things that are contradictory. A lot of them are fantastical. I mean, we’re not seeing Teslas rolling around as robotaxis making money for their owners in their sleep, like he said would be happening by now. We’re really going to have to wait and see.”\u003c/p>\n\u003cp>While Musk said he plans to create a “content moderation council” on Twitter, he has also said he would loosen the rules on what users can say on the platform, and although he has often been referred to as a libertarian, \u003ca href=\"https://www.nytimes.com/2022/04/16/business/elon-musk-politics-twitter.html\">his political views remain hazy\u003c/a>. Nevertheless, the \u003ca href=\"https://www.theverge.com/2022/10/5/23389568/musk-twitter-signal-deleted-messages-judge-ruling\">lawsuit brought against Musk by Twitter\u003c/a> after Musk rescinded his offer to buy the company in April revealed \u003ca href=\"https://www.sfgate.com/news/article/elon-musk-twitter-texts-ranked-17494691.php\">texts with friends and associates\u003c/a> that provide a premonition of things to come — both in terms of what was said and\u003ca href=\"https://nymag.com/intelligencer/2022/09/elon-musk-caught-deleting-messages-about-the-twitter-deal.html\"> what was not\u003c/a>.\u003c/p>\n\u003cp>Furthermore, Musk has praised the acquisition of right-wing social media app Parler by Ye — formerly known as Kanye West — and \u003ca href=\"https://www.npr.org/2022/10/28/1132222606/twitter-account-elon-musk-content-moderation-council\">he announced Friday that Ye’s blocked account on Twitter had been reinstated\u003c/a>, days after the singer/songwriter \u003ca href=\"https://www.npr.org/2022/10/25/1131285970/adidas-ye-kanye-west-antisemitic\">drew international ire over antisemitic remarks and comments on slavery\u003c/a>. Musk has also said Twitter was wrong to ban former President Donald Trump — who has since founded the right-wing social media platform Truth Social — after the January 6 insurrection on the U.S. Capitol. Musk stated back in May that \u003ca href=\"https://www.washingtonpost.com/technology/2022/05/10/musk-talk-twitter/\">he would restore Trump’s account\u003c/a>. Then, on October 18, Musk posted and later deleted\u003ca href=\"https://www.businessinsider.com/elon-musk-meme-kanye-donald-trump-three-musketeers-parler-2022-10\"> a meme depicting the three social media platform owners — Musk, Ye and Trump — as “The Three Musketeers,”\u003c/a> tweeting “in retrospect, it was inevitable.”\u003c/p>\n\u003cp>Although Musk has been critical of Trump’s Truth Social, calling it a “right-wing echo chamber,” the celebration of Musk’s Twitter takeover by right-wing and conservative pundits and media since Thursday has worried Twitter users that the network will become more racist, sexist and toxic. Those fears appeared well founded as, a day after Musk bought Twitter, \u003ca href=\"https://www.usnews.com/news/business/articles/2022-10-28/elon-took-over-twitter-then-some-users-began-testing-chaos\">tweets started flooding in testing whether Twitter’s misinformation policies were still in place\u003c/a>; popular right-wing personalities tweeted buzzwords such as “ivermectin” and “Trump won.”\u003c/p>\n\u003cp>In an apparent effort to address these concerns, on October 27, a day before the deadline to close the takeover deal,\u003ca href=\"https://twitter.com/elonmusk/status/1585619322239561728\"> Musk assured advertisers over Twitter\u003c/a> that the social media platform is “important to civilization” and that it “obviously cannot become a free-for-all hellscape where anything can be said with no consequences.” But advertisers weren’t so convinced, as General Motors and Ford — both of which are Tesla competitors — \u003ca href=\"https://www.forbes.com/sites/alanohnsman/2022/10/28/gm-ford-say-they-arent-running-twitter-ads-as-they-assess-changes-under-elon-musk/?sh=48c1d21c2a19\">announced they’d suspend their ads on Twitter for now\u003c/a>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So far, Musk has only been firing people,\u003ca href=\"https://www.washingtonpost.com/technology/2022/10/20/musk-twitter-acquisition-staff-cuts/\"> having told prospective investors that he wanted to get rid of 75% of Twitter’s 7,500 employees and continue with a team of 2,000 \u003c/a>— something he denied in an earlier visit.\u003c/p>\n\u003cp>“The people that were fired … were the CEO, CFO, head of legal and potentially general counsel as well, the people he was battling with in the acquisition,” explained Owens from MarketWatch, saying that he doesn’t think we’re going to see major changes to the platform this week.\u003c/p>\n\u003cp>“If he wants to maintain advertising revenue, if he wants to grow the platform and convince more users to come to the platform, I think he’s going to have to be very careful how he proceeds from here,” added Owens.\u003c/p>\n\u003cp>What happens if people’s fears are realized and Twitter \u003cem>does\u003c/em> seem to resemble the “hellscape” that Musk said would never happen? Owens says there are plenty of other options for everyday users, like Mastodon, LinkedIn, Instagram and Facebook, but adds that things would be especially alarming for journalists, considering \u003ca href=\"https://www.pewresearch.org/fact-tank/2022/06/27/twitter-is-the-go-to-social-media-site-for-u-s-journalists-but-not-for-the-public/\">69% of U.S. journalists use Twitter as their preferred social media platform for work\u003c/a>, according to a recent Pew Research Center survey.\u003c/p>\n\u003cp>“Those of us who are verified on Twitter and try to combat these storms of misinformation and disinformation … if the platform does all fall apart, where does that go?” said Owens. “Where can people find legitimate information?”\u003c/p>\n\u003cp>As of Monday, Elon Musk seemed to be moving quickly with changes, including \u003ca href=\"https://www.theverge.com/2022/10/30/23431931/twitter-paid-verification-elon-musk-blue-monthly-subscription\">a plan to start charging $19.99 a month for verified users with the Twitter Blue check mark\u003c/a> — which is currently $4.99 a month — giving them 90 days to subscribe or lose their blue status. He has also \u003ca href=\"https://www.theverge.com/2022/10/30/23430008/elon-musk-twitter-homepage-subscriptions-changes\">requested that logged-out users visiting Twitter.com be redirected to the Explore page\u003c/a> that shows trending tweets and news stories. There have also been reports of \u003ca href=\"https://www.nytimes.com/2022/10/29/technology/twitter-layoffs-musk-jobs.html\">yet more layoffs\u003c/a> since the weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "A Tribute to a California DJ Who Connected Lovers on the Air for 80 Years",
"title": "A Tribute to a California DJ Who Connected Lovers on the Air for 80 Years",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Art Laboe, widely credited as the first DJ to play rock and roll on the West Coast, died earlier this month in Palm Springs at the age of 97, after a broadcasting career spanning some 80 years. He coined the term \"oldies but goodies,\" and his beloved radio show drew a racially diverse audience from across California and beyond. California Report Magazine host Sasha Khokha got a chance to interview him for a 2019 story. This week, we're reprising that piece as a tribute to Laboe. Listen to the story in the audio link above.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 8, 2019:\u003cbr>\n\u003c/strong>[dropcap]I[/dropcap] never knew who Art Laboe was, or what he meant to so many Californians, until I moved to Fresno, and started dating someone who grew up on Laboe's music. We would drive on country roads lined with orange groves and tune into Laboe's Sunday radio show, where people from all over the state would send in lovey-dovey dedications to each other. And then there was Laboe's signature on-air smooch into the microphone.\u003c/p>\n\u003cp>My now-husband Karl was a low-rider growing up, cruising in his Nissan mini-truck with tinted windows, custom-painted graphics on the side and a booming stereo. He would blast Laboe's show, which played songs by artists like Rick James, Teena Marie, Tierra and the Temptations — from the 12-inch woofers, while waxing his car and cleaning the custom spoke wheels with a toothbrush.\u003c/p>\n\u003cp>By the time I met Karl, he had moved away from the low-rider lifestyle, but not Art Laboe, or the love songs. He's one of generations of Californians — especially Chicanos and Latinx folks — who've grown up on Laboe's music, first listening as their grandparents did.\u003c/p>\n\u003cfigure id=\"attachment_11723560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723560\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg\" alt=\"\" width=\"800\" height=\"958\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-160x192.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1020x1221.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1002x1200.jpg 1002w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe developed a radio persona that was daring and rebellious for its time. Here he broadcasts from the Palm Springs studios of KCMJ in 1946 while getting a haircut. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After all, Laboe has been spinning oldies and love songs since 1943. He coined the term “oldies but goodies” and was one of the first DJs on the West Coast to play rock 'n' roll.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He still takes to the airwaves from a Palm Springs studio six nights a week from 7 p.m. to midnight, hosting \u003ca href=\"https://www.facebook.com/ArtLaboeConnection/\" target=\"_blank\" rel=\"noopener noreferrer\">The Art Laboe Connection\u003c/a> — a show broadcast on more than a dozen stations across California.\u003c/p>\n\u003cp>\u003cem>Watch a tribute to Art Laboe produced by videographer Bryan Mendez:\u003c/em>\u003cbr>\nhttps://www.youtube.com/watch?v=jx6zqCY8GMU\u003c/p>\n\u003cp>Laboe spends hours every day playing songs that are about the heart.\u003c/p>\n\u003cp>“Love is a powerful medicine, whether you’re falling in love, or out of love,” he says.\u003c/p>\n\u003ch3>Connecting loved ones, in and out of prison\u003c/h3>\n\u003cp>These days, many of those calling in with regular dedications have loved ones in prison.\u003c/p>\n\u003cp>\"He's just an amazing DJ. I would listen to him until my last breath,\" says longtime listener Rosie Morales, of Sylmar.\u003c/p>\n\u003cfigure id=\"attachment_11723897\" class=\"wp-caption alignright\" style=\"max-width: 351px\">\u003cimg class=\" wp-image-11723897\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg\" alt=\"\" width=\"351\" height=\"233\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut.jpg 1920w\" sizes=\"(max-width: 351px) 100vw, 351px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe receives thousands of letters from incarcerated people each year. Some envelopes contain a week's work of dedications for their loved ones. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She calls in every single day with a dedication to her husband Scrappy, who's serving a life sentence in Kern Valley State Prison in Delano. She can't call her husband directly right now, because he's in solitary confinement. But she can hear Laboe smooch kisses sent by her husband into his microphone.\u003c/p>\n\u003cp>\"He's able to communicate to our loved ones when we can't,\" Morales says. \"He brings that spark into relationships.\"\u003c/p>\n\u003cp>“They’re there, man and wife, every night, man and wife, doing it to each other, dedications,\" Laboe laughs. \"Conjugal, but not conjugal.\"\u003c/p>\n\u003cp>Some incarcerated people send in a week's worth of dedications to their spouses or lovers, with a different love song for each day of the week.\u003c/p>\n\u003cfigure id=\"attachment_11723729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723729\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe has been spinning love songs for 75 years. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Art’s so concerned about the prisoners, because for every person that's inside there can be 10 or 20 family members on the outside affected by that person being in jail,\" says his longtime audio engineer, Joanna Morones, who answers phones to take dedications.\u003c/p>\n\u003cp>\"He really caters to that family dynamic, you know, and connecting them. We're told every night, ‘I can't go visit him. I won't be able to go see him for two weeks, but I can talk to him on the radio.’ The guys in prison sit there and wait to hear their wives’ voice on the radio,\" Morones says.\u003c/p>\n\u003ch3>Getting his start — thanks to the WWII draft\u003c/h3>\n\u003cp>Laboe's obsession with radio started when he was eight years old, when his sister sent his parents what he called \"this box that talked.\" He set up a ham radio station in his bedroom at age 14, broadcasting to his neighbors.\u003c/p>\n\u003cp>When he was 18, he walked into radio station KSAN in San Francisco and asked for a job.\u003c/p>\n\u003cp>He had no real experience, and he hadn’t yet honed his rich baritone. But he did have one thing: a radio operator’s license.\u003c/p>\n\u003cp>The station had lost its engineers to the draft — this was World War II. The manager offered him a job on the spot. As long as he changed his last name, which the manager thought sounded \"too ethnic\" for the airwaves in 1943.\u003c/p>\n\u003cp>So Art Egnoian — the son of Armenian immigrants — took the name of the station’s receptionist and became Art Laboe.\u003c/p>\n\u003cfigure id=\"attachment_11723557\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg class=\"size-full wp-image-11723557\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg\" alt=\"\" width=\"768\" height=\"936\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut-160x195.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Laboe claims to have invented the on-air dedication, where listeners write or call in to send music and love notes to each other on the air. Here he reads dedications with Eddie Rodriguez in 1945, at radio station KPMO in Pomona. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his music, and his fan base, have never been whitewashed. Laboe has built a huge fan base, starting with the teenagers who attended his live concerts or dances back in the 1950s. He made a name for himself hosting rock 'n' roll concerts in the Los Angeles suburb of El Monte, pioneering racially integrated, all-ages dance parties with live bands.\u003c/p>\n\u003cp>\"I can do some nice talking in Armenian. But I can do almost that good in Spanish, too,\" Laboe smiles. \"I’m happy that [our concerts and shows appeal to] everybody. If you come to one of our concerts, you’ll see a mixture, a complete mixture of what we have in California.\"\u003c/p>\n\u003cfigure id=\"attachment_11723561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723561\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg\" alt=\"Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-1020x726.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 94, Laboe is still hosting live shows across California and the west, wearing his signature bedazzled track suit and a sparkly bowler hat.\u003c/p>\n\u003cp>Laboe says he knows people his age always say this kind of thing, but he is nostalgic for the old days — a time when people used to have a little more kindness for each other.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It would be good if we had a little bit more of what we used to have in the world,\" Laboe says. \"Nevertheless, people are people and they still have the same basic wants and needs. Everyone is capable of love and affection, if they could just have a little bit more of it for each other.\"\u003c/p>\n\n",
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"excerpt": "Widely credited as the first DJ to play rock and roll on the West Coast, Art Laboe died earlier this month in Palm Springs at the age of 97, after a broadcasting career spanning some 80 years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art Laboe, widely credited as the first DJ to play rock and roll on the West Coast, died earlier this month in Palm Springs at the age of 97, after a broadcasting career spanning some 80 years. He coined the term \"oldies but goodies,\" and his beloved radio show drew a racially diverse audience from across California and beyond. California Report Magazine host Sasha Khokha got a chance to interview him for a 2019 story. This week, we're reprising that piece as a tribute to Laboe. Listen to the story in the audio link above.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 8, 2019:\u003cbr>\n\u003c/strong>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> never knew who Art Laboe was, or what he meant to so many Californians, until I moved to Fresno, and started dating someone who grew up on Laboe's music. We would drive on country roads lined with orange groves and tune into Laboe's Sunday radio show, where people from all over the state would send in lovey-dovey dedications to each other. And then there was Laboe's signature on-air smooch into the microphone.\u003c/p>\n\u003cp>My now-husband Karl was a low-rider growing up, cruising in his Nissan mini-truck with tinted windows, custom-painted graphics on the side and a booming stereo. He would blast Laboe's show, which played songs by artists like Rick James, Teena Marie, Tierra and the Temptations — from the 12-inch woofers, while waxing his car and cleaning the custom spoke wheels with a toothbrush.\u003c/p>\n\u003cp>By the time I met Karl, he had moved away from the low-rider lifestyle, but not Art Laboe, or the love songs. He's one of generations of Californians — especially Chicanos and Latinx folks — who've grown up on Laboe's music, first listening as their grandparents did.\u003c/p>\n\u003cfigure id=\"attachment_11723560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723560\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg\" alt=\"\" width=\"800\" height=\"958\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-160x192.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1020x1221.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1002x1200.jpg 1002w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe developed a radio persona that was daring and rebellious for its time. Here he broadcasts from the Palm Springs studios of KCMJ in 1946 while getting a haircut. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After all, Laboe has been spinning oldies and love songs since 1943. He coined the term “oldies but goodies” and was one of the first DJs on the West Coast to play rock 'n' roll.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He still takes to the airwaves from a Palm Springs studio six nights a week from 7 p.m. to midnight, hosting \u003ca href=\"https://www.facebook.com/ArtLaboeConnection/\" target=\"_blank\" rel=\"noopener noreferrer\">The Art Laboe Connection\u003c/a> — a show broadcast on more than a dozen stations across California.\u003c/p>\n\u003cp>\u003cem>Watch a tribute to Art Laboe produced by videographer Bryan Mendez:\u003c/em>\u003cbr>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jx6zqCY8GMU'\n title='//www.youtube.com/embed/jx6zqCY8GMU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Laboe spends hours every day playing songs that are about the heart.\u003c/p>\n\u003cp>“Love is a powerful medicine, whether you’re falling in love, or out of love,” he says.\u003c/p>\n\u003ch3>Connecting loved ones, in and out of prison\u003c/h3>\n\u003cp>These days, many of those calling in with regular dedications have loved ones in prison.\u003c/p>\n\u003cp>\"He's just an amazing DJ. I would listen to him until my last breath,\" says longtime listener Rosie Morales, of Sylmar.\u003c/p>\n\u003cfigure id=\"attachment_11723897\" class=\"wp-caption alignright\" style=\"max-width: 351px\">\u003cimg class=\" wp-image-11723897\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg\" alt=\"\" width=\"351\" height=\"233\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut.jpg 1920w\" sizes=\"(max-width: 351px) 100vw, 351px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe receives thousands of letters from incarcerated people each year. Some envelopes contain a week's work of dedications for their loved ones. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She calls in every single day with a dedication to her husband Scrappy, who's serving a life sentence in Kern Valley State Prison in Delano. She can't call her husband directly right now, because he's in solitary confinement. But she can hear Laboe smooch kisses sent by her husband into his microphone.\u003c/p>\n\u003cp>\"He's able to communicate to our loved ones when we can't,\" Morales says. \"He brings that spark into relationships.\"\u003c/p>\n\u003cp>“They’re there, man and wife, every night, man and wife, doing it to each other, dedications,\" Laboe laughs. \"Conjugal, but not conjugal.\"\u003c/p>\n\u003cp>Some incarcerated people send in a week's worth of dedications to their spouses or lovers, with a different love song for each day of the week.\u003c/p>\n\u003cfigure id=\"attachment_11723729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723729\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe has been spinning love songs for 75 years. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Art’s so concerned about the prisoners, because for every person that's inside there can be 10 or 20 family members on the outside affected by that person being in jail,\" says his longtime audio engineer, Joanna Morones, who answers phones to take dedications.\u003c/p>\n\u003cp>\"He really caters to that family dynamic, you know, and connecting them. We're told every night, ‘I can't go visit him. I won't be able to go see him for two weeks, but I can talk to him on the radio.’ The guys in prison sit there and wait to hear their wives’ voice on the radio,\" Morones says.\u003c/p>\n\u003ch3>Getting his start — thanks to the WWII draft\u003c/h3>\n\u003cp>Laboe's obsession with radio started when he was eight years old, when his sister sent his parents what he called \"this box that talked.\" He set up a ham radio station in his bedroom at age 14, broadcasting to his neighbors.\u003c/p>\n\u003cp>When he was 18, he walked into radio station KSAN in San Francisco and asked for a job.\u003c/p>\n\u003cp>He had no real experience, and he hadn’t yet honed his rich baritone. But he did have one thing: a radio operator’s license.\u003c/p>\n\u003cp>The station had lost its engineers to the draft — this was World War II. The manager offered him a job on the spot. As long as he changed his last name, which the manager thought sounded \"too ethnic\" for the airwaves in 1943.\u003c/p>\n\u003cp>So Art Egnoian — the son of Armenian immigrants — took the name of the station’s receptionist and became Art Laboe.\u003c/p>\n\u003cfigure id=\"attachment_11723557\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg class=\"size-full wp-image-11723557\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg\" alt=\"\" width=\"768\" height=\"936\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut-160x195.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Laboe claims to have invented the on-air dedication, where listeners write or call in to send music and love notes to each other on the air. Here he reads dedications with Eddie Rodriguez in 1945, at radio station KPMO in Pomona. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his music, and his fan base, have never been whitewashed. Laboe has built a huge fan base, starting with the teenagers who attended his live concerts or dances back in the 1950s. He made a name for himself hosting rock 'n' roll concerts in the Los Angeles suburb of El Monte, pioneering racially integrated, all-ages dance parties with live bands.\u003c/p>\n\u003cp>\"I can do some nice talking in Armenian. But I can do almost that good in Spanish, too,\" Laboe smiles. \"I’m happy that [our concerts and shows appeal to] everybody. If you come to one of our concerts, you’ll see a mixture, a complete mixture of what we have in California.\"\u003c/p>\n\u003cfigure id=\"attachment_11723561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723561\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg\" alt=\"Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-1020x726.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 94, Laboe is still hosting live shows across California and the west, wearing his signature bedazzled track suit and a sparkly bowler hat.\u003c/p>\n\u003cp>Laboe says he knows people his age always say this kind of thing, but he is nostalgic for the old days — a time when people used to have a little more kindness for each other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It would be good if we had a little bit more of what we used to have in the world,\" Laboe says. \"Nevertheless, people are people and they still have the same basic wants and needs. Everyone is capable of love and affection, if they could just have a little bit more of it for each other.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Recently released test scores from some of California’s largest school districts — representing more than 1 million students — offer a preview of what’s likely to be steep drops in reading and math scores statewide in the wake of COVID.\u003c/p>\n\u003cp>The scores, which districts released individually at the request of EdSource, show sharp declines in all grade levels from 2019, before COVID forced the closure of most campuses to in-person learning, and 2022.\u003c/p>\n\u003cp>The California Department of Education has delayed releasing the full statewide results from the 2022 Smarter Balanced assessments, which are given annually to third through eighth graders and 11th graders to measure progress in English language arts and math. Under pressure from EdSource and other media outlets, the department recently agreed to release the scores by the end of October.\u003c/p>\n\u003cp>Meanwhile, EdSource has collected individual results from 10 large districts, including Los Angeles Unified, San Diego Unified, Fresno Unified, Lodi Unified, Long Beach Unified, Sacramento City Unified, Sweetwater Union High School District, San Ramon Valley Unified, Bakersfield City School District and Mt. Diablo Unified.\u003c/p>\n\u003cp>The results show consistent declines in all categories from 2019, but some variations among districts and subgroups:\u003c/p>\n\u003cul>\n\u003cli>Only 13% of students in Bakersfield met the state standard for math.\u003c/li>\n\u003cli>Reading scores in Los Angeles Unified dipped only slightly from 2019 to 2022. Still, only 41% of students in 2022 were proficient in reading.\u003c/li>\n\u003cli>Math scores in Fresno dropped by a third. In 2022, only 21% of students met the math standard.\u003c/li>\n\u003cli>Reading scores in Long Beach dropped 11 points, but declines were less steep in math. Math scores fell only 4 points.\u003c/li>\n\u003cli>In Mt. Diablo Unified, one of the few districts to break down the results by subgroup, Black, Latino, English learner, foster and unhoused students had far lower scores compared with 2019 than their white and Asian peers. For example, among English learners, 96% did not meet the math or reading standards.\u003c/li>\n\u003c/ul>\n\u003cp>By and large, scores show little change from 2021, the first year results were released after the state suspended the 2020 tests due to COVID. The 2021 test was optional for schools to administer, so results were limited and likely not an accurate reflection of students’ progress overall. Just under 25% of students took the test in 2021.\u003c/p>\n\u003cp>Lodi Unified saw scores in both math and reading improve from 2021, but they still lag significantly from 2019. That’s not a surprise, considering the difficulties teachers and students faced as they returned from distance learning, said Robert Sahli, assistant superintendent.[pullquote size=\"medium\" align=\"right\" citation=\"Lucrecia Santibañez, associate professor of education, UCLA\"]‘COVID was tough for everyone … But these scores signal that we need to make a personalized, intensive effort to help kids catch up and recoup what they’ve lost.’[/pullquote]“Last year, even though we were back in person, it was very challenging,” he said. “Teachers and support staff were working very hard to address learning loss while also responding to the social-emotional impacts on learning and socializing at school.”\u003c/p>\n\u003cp>Like other districts, Lodi has hired more tutors and teachers to help students catch up, beefed up summer school and after-school academic offerings, adopted new curricula and taken other steps to bring students to proficiency.\u003c/p>\n\u003cp>Heather Hough, director of Policy Analysis for California Education (PACE), said the preliminary results are actually better than she expected. Because 2022 is the first year all schools were required to give the test, she anticipated a significant drop from 2021.\u003c/p>\n\u003cp>“We thought 2022 would be a recovery year, but there was so much chaos — teacher shortages, students missing school — that it turned out to be another pandemic year,” she said. “If the scores are the same (as 2021), that’s actually encouraging.”\u003c/p>\n\u003cp>When the state releases the full data, Hough and her colleagues will pay close attention to differences among subgroups and statistical anomalies. If one district, for example, shows good results for students in special education, it would be worth researching what special steps that district has taken.\u003c/p>\n\u003cp>She also noted that some students thrived during remote learning, so she expects some good news, as well. In any case, schools and districts, as well as statewide policymakers, should use the scores to shape their allocation of resources in the coming years.\u003c/p>\n\u003cp>“When we get this data, we’ll finally be able to see how California is doing, what challenges we’re facing, and how we can best help students as we move forward,” she said.\u003c/p>\n\u003cp>In anticipation of the statewide release of test scores, the state last week launched a push for schools to help students regain skills they lost during COVID. The state is emphasizing accelerated learning, rather than remedial lessons, to speed up the process.\u003c/p>\n\u003cp>Steps like that could be the most useful result of the Smarter Balanced scores, said Lucrecia Santibañez, associate professor of education at UCLA. Closely analyzing the data and using it to forge a path forward — specifically for certain groups of students — is more useful than assigning blame, she said.\u003c/p>\n\u003cp>“COVID was tough for everyone, and it’s not worth putting blame on anyone. Everyone was trying the best they could. But these scores signal that we need to make a personalized, intensive effort to help kids catch up and recoup what they’ve lost,” she said.\u003c/p>\n\u003cp>Although the scores are disappointing, they can be an important tool to help schools pinpoint resources in the future, she said. The scores can provide a window into what exact content students have missed, where they’re lagging and which students need the most help, she said.\u003c/p>\n\u003cp>At Mt. Diablo Unified, Raymond Tjen-A-Looi, director of assessment, research and evaluation, told the school board that comparisons with 2021 aren’t helpful because education was still so disrupted due to COVID.\u003c/p>\n\u003cp>“We’re concentrating on using 2022 as a baseline, with the expectation that everything will stay the same going forward — testing will be in person, instruction will be in person,” he said. “So moving forward, hopefully, we’ll be able to do more comparisons and see how well we are making up for what we’ve lost.”\u003c/p>\n\u003cp>\u003ca href=\"https://edsource.org/2022/preliminary-glimpse-at-test-scores-shows-steep-declines-in-reading-math/679898?amp=1\">\u003cem>This story originally appeared in EdSource.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recently released test scores from some of California’s largest school districts — representing more than 1 million students — offer a preview of what’s likely to be steep drops in reading and math scores statewide in the wake of COVID.\u003c/p>\n\u003cp>The scores, which districts released individually at the request of EdSource, show sharp declines in all grade levels from 2019, before COVID forced the closure of most campuses to in-person learning, and 2022.\u003c/p>\n\u003cp>The California Department of Education has delayed releasing the full statewide results from the 2022 Smarter Balanced assessments, which are given annually to third through eighth graders and 11th graders to measure progress in English language arts and math. Under pressure from EdSource and other media outlets, the department recently agreed to release the scores by the end of October.\u003c/p>\n\u003cp>Meanwhile, EdSource has collected individual results from 10 large districts, including Los Angeles Unified, San Diego Unified, Fresno Unified, Lodi Unified, Long Beach Unified, Sacramento City Unified, Sweetwater Union High School District, San Ramon Valley Unified, Bakersfield City School District and Mt. Diablo Unified.\u003c/p>\n\u003cp>The results show consistent declines in all categories from 2019, but some variations among districts and subgroups:\u003c/p>\n\u003cul>\n\u003cli>Only 13% of students in Bakersfield met the state standard for math.\u003c/li>\n\u003cli>Reading scores in Los Angeles Unified dipped only slightly from 2019 to 2022. Still, only 41% of students in 2022 were proficient in reading.\u003c/li>\n\u003cli>Math scores in Fresno dropped by a third. In 2022, only 21% of students met the math standard.\u003c/li>\n\u003cli>Reading scores in Long Beach dropped 11 points, but declines were less steep in math. Math scores fell only 4 points.\u003c/li>\n\u003cli>In Mt. Diablo Unified, one of the few districts to break down the results by subgroup, Black, Latino, English learner, foster and unhoused students had far lower scores compared with 2019 than their white and Asian peers. For example, among English learners, 96% did not meet the math or reading standards.\u003c/li>\n\u003c/ul>\n\u003cp>By and large, scores show little change from 2021, the first year results were released after the state suspended the 2020 tests due to COVID. The 2021 test was optional for schools to administer, so results were limited and likely not an accurate reflection of students’ progress overall. Just under 25% of students took the test in 2021.\u003c/p>\n\u003cp>Lodi Unified saw scores in both math and reading improve from 2021, but they still lag significantly from 2019. That’s not a surprise, considering the difficulties teachers and students faced as they returned from distance learning, said Robert Sahli, assistant superintendent.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Last year, even though we were back in person, it was very challenging,” he said. “Teachers and support staff were working very hard to address learning loss while also responding to the social-emotional impacts on learning and socializing at school.”\u003c/p>\n\u003cp>Like other districts, Lodi has hired more tutors and teachers to help students catch up, beefed up summer school and after-school academic offerings, adopted new curricula and taken other steps to bring students to proficiency.\u003c/p>\n\u003cp>Heather Hough, director of Policy Analysis for California Education (PACE), said the preliminary results are actually better than she expected. Because 2022 is the first year all schools were required to give the test, she anticipated a significant drop from 2021.\u003c/p>\n\u003cp>“We thought 2022 would be a recovery year, but there was so much chaos — teacher shortages, students missing school — that it turned out to be another pandemic year,” she said. “If the scores are the same (as 2021), that’s actually encouraging.”\u003c/p>\n\u003cp>When the state releases the full data, Hough and her colleagues will pay close attention to differences among subgroups and statistical anomalies. If one district, for example, shows good results for students in special education, it would be worth researching what special steps that district has taken.\u003c/p>\n\u003cp>She also noted that some students thrived during remote learning, so she expects some good news, as well. In any case, schools and districts, as well as statewide policymakers, should use the scores to shape their allocation of resources in the coming years.\u003c/p>\n\u003cp>“When we get this data, we’ll finally be able to see how California is doing, what challenges we’re facing, and how we can best help students as we move forward,” she said.\u003c/p>\n\u003cp>In anticipation of the statewide release of test scores, the state last week launched a push for schools to help students regain skills they lost during COVID. The state is emphasizing accelerated learning, rather than remedial lessons, to speed up the process.\u003c/p>\n\u003cp>Steps like that could be the most useful result of the Smarter Balanced scores, said Lucrecia Santibañez, associate professor of education at UCLA. Closely analyzing the data and using it to forge a path forward — specifically for certain groups of students — is more useful than assigning blame, she said.\u003c/p>\n\u003cp>“COVID was tough for everyone, and it’s not worth putting blame on anyone. Everyone was trying the best they could. But these scores signal that we need to make a personalized, intensive effort to help kids catch up and recoup what they’ve lost,” she said.\u003c/p>\n\u003cp>Although the scores are disappointing, they can be an important tool to help schools pinpoint resources in the future, she said. The scores can provide a window into what exact content students have missed, where they’re lagging and which students need the most help, she said.\u003c/p>\n\u003cp>At Mt. Diablo Unified, Raymond Tjen-A-Looi, director of assessment, research and evaluation, told the school board that comparisons with 2021 aren’t helpful because education was still so disrupted due to COVID.\u003c/p>\n\u003cp>“We’re concentrating on using 2022 as a baseline, with the expectation that everything will stay the same going forward — testing will be in person, instruction will be in person,” he said. “So moving forward, hopefully, we’ll be able to do more comparisons and see how well we are making up for what we’ve lost.”\u003c/p>\n\u003cp>\u003ca href=\"https://edsource.org/2022/preliminary-glimpse-at-test-scores-shows-steep-declines-in-reading-math/679898?amp=1\">\u003cem>This story originally appeared in EdSource.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "in-richmond-extra-money-for-arts-education-is-an-equity-issue",
"title": "In Richmond, Extra Money for Arts Education Is an Equity Issue",
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"content": "\u003cp>It’s been clear to Richmond High School junior Angelee Montances that when it comes to arts and music education, all things are not created equal in Richmond.\u003c/p>\n\u003cp>“Communities like mine, Richmond High, where it’s predominantly brown kids, we don’t get the same opportunity as in like Hercules, which is, you know, predominantly Asian kids and white kids,” she said.\u003c/p>\n\u003cp>Montances is a senior who plays viola in the Richmond High orchestra. The East Bay public high school, along with Kennedy High, is located in the West Contra Costa Unified School District, and is made up of 1,511 students, of whom 85.4% are Latino.\u003c/p>\n\u003cp>“And, you know, it also sucks because I feel like parents, students and teachers have tried here in Richmond High and Kennedy High to get the funding that they have (at Hercules High),” Montances said. “But we don’t have the money, you know.”[aside postID=news_11927353 hero='https://ww2.kqed.org/app/uploads/sites/10/2022/09/artsed_prop28-1020x626.jpg']Many Richmond High families, including that of Montances, consider themselves working class.\u003c/p>\n\u003cp>“It’s really something you think about and not many people say, but it’s also a race thing. It’s a socioeconomic class thing, and it’s just an issue,” said Montances.\u003c/p>\n\u003cp>California education law calls for all public schools to offer comprehensive arts education, but in reality, very few of them do. This November, voters will decide whether or not to guarantee arts funding in public schools, including charters.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/voterguide/proposition-28-arts-education\">Proposition 28\u003c/a> would roughly double the amount of funding California gives schools for arts and music education, and it would send 30% of that money to schools serving students from lower-income families. Voters would also be locking in that funding stream for the future.\u003c/p>\n\u003cp>The measure would \u003ca href=\"https://oag.ca.gov/system/files/initiatives/pdfs/21-0036A1%20%28Music%20and%20Art%20Education%29.pdf\">require public schools to spend 80%\u003c/a> of the money on hiring full-time arts and music teachers, which could double the number of arts and music teachers across the state.\u003c/p>\n\u003cp>In 2016, voters in Berkeley, a wealthier part of the Bay Area, raised taxes to boost music education by \u003ca href=\"https://ballotpedia.org/Berkeley_Unified_School_District,_California,_Parcel_Tax,_Measure_E1_(November_2016)\">passing a parcel tax\u003c/a> that raises $2 million annually to pay for music education for all public school kids starting in third grade.\u003c/p>\n\u003cp>But just 11 miles north, in Richmond, many public elementary school principals have to plead with local community arts organizations to partner with them. Coming out of the pandemic, that cry became even louder, according to Andrea Landin, director of school and neighborhood partnerships at the East Bay Center for the Performing Arts.[pullquote size=\"medium\" align=\"right\" citation=\"Andrea Landin, director of school and neighborhood partnerships, East Bay Center for the Performing Arts\"]‘Sometimes kids can’t really name exactly what’s going on emotionally or mentally, but once they start to move or sing or play an instrument or get on stage and pretend to be someone else, then there’s so much healing that goes on, so much realization and growth.’[/pullquote]\u003c/p>\n\u003cp>“I had so many principals call me or email me saying that, ‘My students have been sitting in front of a screen for a year and a half. They need to sing, they need to move, they need to express themselves,’” Landin said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.eastbaycenter.org/school-and-neighborhood-partnerships\">East Bay Center for the Performing Arts\u003c/a> pays artists who don’t have a teaching credential about $45 an hour to help teach art and music in as many WCCUSD public schools requesting help as they can. However, the center has a hard time competing with tuition-based arts organizations in other parts of the Bay Area, which can pay those same artists between $80 and $100 an hour.\u003c/p>\n\u003cp>Landin said there is never enough money or artists to meet the demand, which means lots of kids in the Richmond area are missing out.\u003c/p>\n\u003cfigure id=\"attachment_11929018\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11929018\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut.jpg\" alt=\"A white music teacher in his 30s teaches a small orchestra of kids playing various instruments in a high school music classroom.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Music director Andrew Wilke conducts orchestra class at Richmond High School in Richmond on Wednesday, Oct. 5, 2022. Richmond High School’s arts programming would benefit from Prop. 28, a measure that would roughly double the amount of funding that California gives schools for arts and music education. ‘We could use it, desperately,’ said Wilke. ‘To not have to worry about finances on top of teaching seven classes would make my job more manageable, which would make me a better teacher and the kids happier.’ \u003ccite>(Marlena Sloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sometimes kids can’t really name exactly what’s going on emotionally or mentally, but once they start to move or sing or play an instrument or get on stage and pretend to be someone else, then there’s so much healing that goes on, so much realization and growth,” Landin explained.\u003c/p>\n\u003cp>If approved by voters, Proposition 28 would roughly double funding for the arts in schools. The Legislative Analyst’s Office estimates it would raise between $800 million and $1 billion annually.\u003c/p>\n\u003cp>By some estimates, that would translate to about $166 per student across the state. A school like Richmond High would have about $250,000 more a year.\u003c/p>\n\u003cp>“That would change everything,” said Andrew Wilke, director of the Richmond High Music Department. Wilke teaches seven periods, runs the marching band and the orchestra, and oversees all the instruments, scheduling and transportation.\u003c/p>\n\u003cp>“I’m at rock-bottom emotionally,” Wilke said. “Not only am I trying to hold all these classes together, I’m trying to find money, I’m trying to support the kids, which is the actual real job we all have.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Currently, Richmond High’s music programs can only serve 140 students. Wilke said more money would mean hiring another music teacher, and the opportunities the school could create for students wouldn’t be limited by how much time he can commit to it. Wilke noted that, with guaranteed funding, there wouldn’t be a struggle for supplies, or a limit to performances the orchestra and marching band could do for lack of transportation funds. And Richmond High could hire specialized instrument coaches for students like Montances.\u003c/p>\n\u003cp>Of the approximately $1 billion raised by Proposition 28 each school year, 30% would go to schools serving economically disadvantaged students.\u003c/p>\n\u003cp>The California Teachers Association \u003ca href=\"https://ballotpedia.org/California_Proposition_28,_Art_and_Music_K-12_Education_Funding_Initiative_(2022)\">has helped get the measure passed by contributing $1 million\u003c/a>.\u003c/p>\n\u003cp>Landin thinks filling these credentialed art and music teaching positions could be a challenge for schools. “I was like, ‘This is beautiful. Where are they going to find all the teachers?,’” she said.\u003c/p>\n\u003cp>Landin says during COVID, many \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\">artists left the Bay Area\u003c/a> for less expensive places. And spoken-word artist and poet \u003ca href=\"http://www.jazzhudson.com/about/\">Jazz Monique Hudson\u003c/a>, who has taught on contract in Oakland schools, has seen arts programs scaled back or eliminated when schools make budget cuts. Hudson had to get full-time employment with the district attorney’s office as a victim advocate to be able to support her family.\u003c/p>\n\u003cp>“Youth Speaks is very prominent in San Francisco,” Hudson explained, referring to the leading nonprofit presenter of youth poetry slams, spoken-word performance and youth-development programs. “However, they have not been able to maintain and sustain their partnerships with Oakland schools due to funding. I was set to teach at Elmhurst Middle School this semester but could not teach in the art program because there wasn’t enough funding for the spoken-word program.”\u003c/p>\n\u003cp>If voters approved Proposition 28, it would lock in funding for the arts, making them less susceptible to budget cuts in tough times.\u003c/p>\n\u003cp>That, in fact, is one reason some critics have come out against the measure: They object to so-called “ballot box budgeting” because it locks in funding that can’t be undone, for example, when a recession hits.\u003c/p>\n\u003cp>Marguerite Roza, who studies education finance at Georgetown University, points out that California schools have more money now than they’ve had in years. The current state budget, which passed in June, increased school spending by 13% over last year. Some of that funding could theoretically go to arts education.\u003c/p>\n\u003cfigure id=\"attachment_11929033\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11929033\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut.jpg\" alt=\"Students in the school orchestra sit facing their teacher, a black girl on violin, a Latina girl on viola, and a Latino boy on violin.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Angelee Montances, a 12th grader at Richmond High School in Richmond, plays the viola during orchestra class on Wednesday, Oct. 5, 2022. \u003ccite>(Marlena Sloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roza says, if passed, Proposition 28 would require the state and schools to come up with new ways of tracking personnel — since school districts will have to specifically show how they spent their new arts funds — which can be complicated and take time to implement. Furthermore, she adds, the creation of a separate “categorical” would add extra rules to different pots of funds, which could mean that districts end up spending more time on compliance than on trying to deliver what their students need.\u003c/p>\n\u003cp>“This push for separate arts ed money would be a move back to the old model, where legislators dictate how districts carve up their budgets,” Roza said, referring to the period before the implementation of the \u003ca href=\"https://www.cde.ca.gov/fg/aa/lc/\">Local Control Funding Formula\u003c/a> in 2016, which fundamentally changed how all local education agencies (LEAs) in the state are funded.\u003c/p>\n\u003cp>At Peres Elementary School in Richmond, Principal Christy Chen says she currently has to constantly hustle community partnerships to bring art into the schools.\u003c/p>\n\u003cp>This fall, thanks to East Bay Center for the Performing Arts, her fourth graders are learning about African rhythms. But Chen says right now her kids only get a half hour of art or music a week.\u003c/p>\n\u003cp>“That would be a dream to get a music teacher, because at the end of the day it gets the kids excited,” Chen said.\u003c/p>\n\u003cp>At Richmond High, music leader Andrew Wilke says he doesn’t need much. Even another $20,000 would help his kids.\u003c/p>\n\u003cp>“I tell the kids, the arts and music — these are languages. It’s not a tactile language like English, where we can say ‘desk,’ ‘floor,’ ‘sky.’ It’s an emotional language where we can express ourselves. I think folks who haven’t had an opportunity to really dive into that don’t fully understand it, which makes it difficult to get the importance across,” he said.\u003c/p>\n\u003cp>\u003cem>This story was made possible as part of The California Newsroom – a collaboration of California’s public radio stations, NPR and CalMatters.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "As California prepares to vote on Prop. 28, schools in lower-income and working-class districts face greater challenges than those in affluent ones in terms of teaching and funding arts education.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been clear to Richmond High School junior Angelee Montances that when it comes to arts and music education, all things are not created equal in Richmond.\u003c/p>\n\u003cp>“Communities like mine, Richmond High, where it’s predominantly brown kids, we don’t get the same opportunity as in like Hercules, which is, you know, predominantly Asian kids and white kids,” she said.\u003c/p>\n\u003cp>Montances is a senior who plays viola in the Richmond High orchestra. The East Bay public high school, along with Kennedy High, is located in the West Contra Costa Unified School District, and is made up of 1,511 students, of whom 85.4% are Latino.\u003c/p>\n\u003cp>“And, you know, it also sucks because I feel like parents, students and teachers have tried here in Richmond High and Kennedy High to get the funding that they have (at Hercules High),” Montances said. “But we don’t have the money, you know.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many Richmond High families, including that of Montances, consider themselves working class.\u003c/p>\n\u003cp>“It’s really something you think about and not many people say, but it’s also a race thing. It’s a socioeconomic class thing, and it’s just an issue,” said Montances.\u003c/p>\n\u003cp>California education law calls for all public schools to offer comprehensive arts education, but in reality, very few of them do. This November, voters will decide whether or not to guarantee arts funding in public schools, including charters.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/voterguide/proposition-28-arts-education\">Proposition 28\u003c/a> would roughly double the amount of funding California gives schools for arts and music education, and it would send 30% of that money to schools serving students from lower-income families. Voters would also be locking in that funding stream for the future.\u003c/p>\n\u003cp>The measure would \u003ca href=\"https://oag.ca.gov/system/files/initiatives/pdfs/21-0036A1%20%28Music%20and%20Art%20Education%29.pdf\">require public schools to spend 80%\u003c/a> of the money on hiring full-time arts and music teachers, which could double the number of arts and music teachers across the state.\u003c/p>\n\u003cp>In 2016, voters in Berkeley, a wealthier part of the Bay Area, raised taxes to boost music education by \u003ca href=\"https://ballotpedia.org/Berkeley_Unified_School_District,_California,_Parcel_Tax,_Measure_E1_(November_2016)\">passing a parcel tax\u003c/a> that raises $2 million annually to pay for music education for all public school kids starting in third grade.\u003c/p>\n\u003cp>But just 11 miles north, in Richmond, many public elementary school principals have to plead with local community arts organizations to partner with them. Coming out of the pandemic, that cry became even louder, according to Andrea Landin, director of school and neighborhood partnerships at the East Bay Center for the Performing Arts.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had so many principals call me or email me saying that, ‘My students have been sitting in front of a screen for a year and a half. They need to sing, they need to move, they need to express themselves,’” Landin said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.eastbaycenter.org/school-and-neighborhood-partnerships\">East Bay Center for the Performing Arts\u003c/a> pays artists who don’t have a teaching credential about $45 an hour to help teach art and music in as many WCCUSD public schools requesting help as they can. However, the center has a hard time competing with tuition-based arts organizations in other parts of the Bay Area, which can pay those same artists between $80 and $100 an hour.\u003c/p>\n\u003cp>Landin said there is never enough money or artists to meet the demand, which means lots of kids in the Richmond area are missing out.\u003c/p>\n\u003cfigure id=\"attachment_11929018\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11929018\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut.jpg\" alt=\"A white music teacher in his 30s teaches a small orchestra of kids playing various instruments in a high school music classroom.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Music director Andrew Wilke conducts orchestra class at Richmond High School in Richmond on Wednesday, Oct. 5, 2022. Richmond High School’s arts programming would benefit from Prop. 28, a measure that would roughly double the amount of funding that California gives schools for arts and music education. ‘We could use it, desperately,’ said Wilke. ‘To not have to worry about finances on top of teaching seven classes would make my job more manageable, which would make me a better teacher and the kids happier.’ \u003ccite>(Marlena Sloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sometimes kids can’t really name exactly what’s going on emotionally or mentally, but once they start to move or sing or play an instrument or get on stage and pretend to be someone else, then there’s so much healing that goes on, so much realization and growth,” Landin explained.\u003c/p>\n\u003cp>If approved by voters, Proposition 28 would roughly double funding for the arts in schools. The Legislative Analyst’s Office estimates it would raise between $800 million and $1 billion annually.\u003c/p>\n\u003cp>By some estimates, that would translate to about $166 per student across the state. A school like Richmond High would have about $250,000 more a year.\u003c/p>\n\u003cp>“That would change everything,” said Andrew Wilke, director of the Richmond High Music Department. Wilke teaches seven periods, runs the marching band and the orchestra, and oversees all the instruments, scheduling and transportation.\u003c/p>\n\u003cp>“I’m at rock-bottom emotionally,” Wilke said. “Not only am I trying to hold all these classes together, I’m trying to find money, I’m trying to support the kids, which is the actual real job we all have.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Currently, Richmond High’s music programs can only serve 140 students. Wilke said more money would mean hiring another music teacher, and the opportunities the school could create for students wouldn’t be limited by how much time he can commit to it. Wilke noted that, with guaranteed funding, there wouldn’t be a struggle for supplies, or a limit to performances the orchestra and marching band could do for lack of transportation funds. And Richmond High could hire specialized instrument coaches for students like Montances.\u003c/p>\n\u003cp>Of the approximately $1 billion raised by Proposition 28 each school year, 30% would go to schools serving economically disadvantaged students.\u003c/p>\n\u003cp>The California Teachers Association \u003ca href=\"https://ballotpedia.org/California_Proposition_28,_Art_and_Music_K-12_Education_Funding_Initiative_(2022)\">has helped get the measure passed by contributing $1 million\u003c/a>.\u003c/p>\n\u003cp>Landin thinks filling these credentialed art and music teaching positions could be a challenge for schools. “I was like, ‘This is beautiful. Where are they going to find all the teachers?,’” she said.\u003c/p>\n\u003cp>Landin says during COVID, many \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\">artists left the Bay Area\u003c/a> for less expensive places. And spoken-word artist and poet \u003ca href=\"http://www.jazzhudson.com/about/\">Jazz Monique Hudson\u003c/a>, who has taught on contract in Oakland schools, has seen arts programs scaled back or eliminated when schools make budget cuts. Hudson had to get full-time employment with the district attorney’s office as a victim advocate to be able to support her family.\u003c/p>\n\u003cp>“Youth Speaks is very prominent in San Francisco,” Hudson explained, referring to the leading nonprofit presenter of youth poetry slams, spoken-word performance and youth-development programs. “However, they have not been able to maintain and sustain their partnerships with Oakland schools due to funding. I was set to teach at Elmhurst Middle School this semester but could not teach in the art program because there wasn’t enough funding for the spoken-word program.”\u003c/p>\n\u003cp>If voters approved Proposition 28, it would lock in funding for the arts, making them less susceptible to budget cuts in tough times.\u003c/p>\n\u003cp>That, in fact, is one reason some critics have come out against the measure: They object to so-called “ballot box budgeting” because it locks in funding that can’t be undone, for example, when a recession hits.\u003c/p>\n\u003cp>Marguerite Roza, who studies education finance at Georgetown University, points out that California schools have more money now than they’ve had in years. The current state budget, which passed in June, increased school spending by 13% over last year. Some of that funding could theoretically go to arts education.\u003c/p>\n\u003cfigure id=\"attachment_11929033\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11929033\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut.jpg\" alt=\"Students in the school orchestra sit facing their teacher, a black girl on violin, a Latina girl on viola, and a Latino boy on violin.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Angelee Montances, a 12th grader at Richmond High School in Richmond, plays the viola during orchestra class on Wednesday, Oct. 5, 2022. \u003ccite>(Marlena Sloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roza says, if passed, Proposition 28 would require the state and schools to come up with new ways of tracking personnel — since school districts will have to specifically show how they spent their new arts funds — which can be complicated and take time to implement. Furthermore, she adds, the creation of a separate “categorical” would add extra rules to different pots of funds, which could mean that districts end up spending more time on compliance than on trying to deliver what their students need.\u003c/p>\n\u003cp>“This push for separate arts ed money would be a move back to the old model, where legislators dictate how districts carve up their budgets,” Roza said, referring to the period before the implementation of the \u003ca href=\"https://www.cde.ca.gov/fg/aa/lc/\">Local Control Funding Formula\u003c/a> in 2016, which fundamentally changed how all local education agencies (LEAs) in the state are funded.\u003c/p>\n\u003cp>At Peres Elementary School in Richmond, Principal Christy Chen says she currently has to constantly hustle community partnerships to bring art into the schools.\u003c/p>\n\u003cp>This fall, thanks to East Bay Center for the Performing Arts, her fourth graders are learning about African rhythms. But Chen says right now her kids only get a half hour of art or music a week.\u003c/p>\n\u003cp>“That would be a dream to get a music teacher, because at the end of the day it gets the kids excited,” Chen said.\u003c/p>\n\u003cp>At Richmond High, music leader Andrew Wilke says he doesn’t need much. Even another $20,000 would help his kids.\u003c/p>\n\u003cp>“I tell the kids, the arts and music — these are languages. It’s not a tactile language like English, where we can say ‘desk,’ ‘floor,’ ‘sky.’ It’s an emotional language where we can express ourselves. I think folks who haven’t had an opportunity to really dive into that don’t fully understand it, which makes it difficult to get the importance across,” he said.\u003c/p>\n\u003cp>\u003cem>This story was made possible as part of The California Newsroom – a collaboration of California’s public radio stations, NPR and CalMatters.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A turquoise, black and red street mural covering a section of the JFK Promenade with the words “We Are on Native Land” was vandalized on Thursday night.\u003c/p>\n\u003cp>Passersby and employees of the San Francisco Recreation and Parks Department first noticed the changes early Friday morning. The lead muralist on the project, Rachel Znerold, found out via text message. The mural had been finished just a few days before, in time for Indigenous Peoples Day. Now, she learned, someone had poured black paint over the word “Native” and written “no such thing” in yellow spray paint above the blacked-out word. [pullquote size=\"medium\" align=\"right\" citation=\"Aiko Little, vice chair, WGAW's Native American and Indigenous Writers Committee\"]‘We are not an imaginary people or people of the past. This is Native land.’[/pullquote]In response, members of Bay Area Native American communities called the vandalism an attempt at cultural erasure.\u003c/p>\n\u003cp>“The recognition of our community has been met repeatedly with resistance and violent behavior,” said Mary Travis-Allen, advisory board president of San Francisco’s \u003ca href=\"https://americanindianculturaldistrict.org/\">American Indian Cultural District\u003c/a>. “Scraping paint off the ground does not erase us. We are here and present.”\u003c/p>\n\u003cp>Janine Laiwa — member of the Pomo Nation, mural painter, volunteer and community ambassador for AICD — said the mural was done in good faith and with time, love and thought.\u003c/p>\n\u003cp>“For someone to paint over the word ‘Native’ shows that racism against Native Americans is still a big issue in San Francisco,” she said.[aside tag=\"indigenous, native\" label=\"More Related Stories\"]This sentiment was echoed by Aiko Little, vice chair of the Native American and Indigenous Writers Committee of the Writers Guild of America West, or WGAW, and member of the Oglala subtribe of the Lakota people.\u003c/p>\n\u003cp>“This is not simply an act of vandalism, but an act of erasure that continues to linger behind the Native/Indigenous peoples since 1492. We are not an imaginary people or people of the past. This is Native land,” Little said. “I can only hope that the people who did this one day unlearn all the ignorance and prejudice instilled in their current actions.”\u003c/p>\n\u003cp>San Francisco Recreation and Parks Department General Manager Phil Ginsburg said he was sickened by the hateful vandalism of the mural.\u003c/p>\n\u003cp>“This ugly act cannot erase the beautiful message behind this installation,” he said. “It was specifically placed at the entrance of JFK Promenade to welcome people from around the world and (to) honor our shared connection to the land.”\u003c/p>\n\u003cp>Jonathan Cordero, chair of the Ramaytush Ohlone peoples, the original inhabitants of the San Francisco peninsula, said he thought the act was more of an anomaly.\u003c/p>\n\u003cp>“The San Francisco Bay Area is actually one of the areas in the United States where Native peoples have higher visibility than they do in other places, especially in major cities,” said Cordero. “I really see this (vandalism) as an aberration.”\u003c/p>\n\u003cp>But, he added, “when things like this happen, it becomes an opportunity for us to talk about who we are and, unfortunately, continue to have to say that we’re still here … still living in our land, still trying to make our way in the world, despite the adverse consequences of colonization, which are still ongoing.”\u003c/p>\n\u003cp>Sharaya Souza (Taos Pueblo, Ute, Kiowa), co-founder and executive director of the American Indian Cultural District, organized the mural after being asked by the SFRPD, the arts organization \u003ca href=\"https://illuminate.org/\">Illuminate\u003c/a>, and nonprofit \u003ca href=\"https://www.paintthevoid.org/\">Paint the Void\u003c/a> to participate in their Golden Mile Project along the JFK Promenade. The mural is also part of the AICD’s \u003ca href=\"https://americanindianculturaldistrict.org/indigenizesf\">Indigenize Project\u003c/a>, celebrating the long history of Native American life in San Francisco through public art.\u003c/p>\n\u003cp>“We still need to have conversations about being on Native land in San Francisco and how that makes some people feel uncomfortable,” Souza said, adding that she would like to see the mural become a talking point and a permanent installation within Golden Gate Park.\u003c/p>\n\u003cp>Znerold, the muralist, spent Friday repairing the mural alongside other muralists and around a dozen volunteers. She said she plans to continue making murals honoring Native life in San Francisco.\u003c/p>\n\u003cp>“We stand strong with our Native communities, and this has been a project that so many have poured their hearts into,” she said, describing families and passersby who stopped to help with the painting while the mural was in progress. “We’re gonna fix it up and we’re gonna keep coming back and fixing it up.”\u003c/p>\n\u003cp>She added that, as a white woman working in collaboration with Native people, she can go home and choose to not engage with racists, but for people of color and Native people, “this is what they’re facing every day.”\u003c/p>\n\u003cp>The work is part of ongoing efforts to fight racism.\u003c/p>\n\u003cp>“If anti-racist work was done, then we wouldn’t need to be out here. But it is the kind of work you have to keep showing up for every single day. So it’s a reminder, a humbling reminder, that our work is continuous,” said Znerold.\u003c/p>\n\u003cp>“It’s not actually taking anything away from you by just acknowledging the history and acknowledging the contributions and the gifts of the first people of this land.”\u003c/p>\n\u003cp>By Friday evening, the mural had been fully restored.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In response, members of Bay Area Native American communities called the vandalism an attempt at cultural erasure.\u003c/p>\n\u003cp>“The recognition of our community has been met repeatedly with resistance and violent behavior,” said Mary Travis-Allen, advisory board president of San Francisco’s \u003ca href=\"https://americanindianculturaldistrict.org/\">American Indian Cultural District\u003c/a>. “Scraping paint off the ground does not erase us. We are here and present.”\u003c/p>\n\u003cp>Janine Laiwa — member of the Pomo Nation, mural painter, volunteer and community ambassador for AICD — said the mural was done in good faith and with time, love and thought.\u003c/p>\n\u003cp>“For someone to paint over the word ‘Native’ shows that racism against Native Americans is still a big issue in San Francisco,” she said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This sentiment was echoed by Aiko Little, vice chair of the Native American and Indigenous Writers Committee of the Writers Guild of America West, or WGAW, and member of the Oglala subtribe of the Lakota people.\u003c/p>\n\u003cp>“This is not simply an act of vandalism, but an act of erasure that continues to linger behind the Native/Indigenous peoples since 1492. We are not an imaginary people or people of the past. This is Native land,” Little said. “I can only hope that the people who did this one day unlearn all the ignorance and prejudice instilled in their current actions.”\u003c/p>\n\u003cp>San Francisco Recreation and Parks Department General Manager Phil Ginsburg said he was sickened by the hateful vandalism of the mural.\u003c/p>\n\u003cp>“This ugly act cannot erase the beautiful message behind this installation,” he said. “It was specifically placed at the entrance of JFK Promenade to welcome people from around the world and (to) honor our shared connection to the land.”\u003c/p>\n\u003cp>Jonathan Cordero, chair of the Ramaytush Ohlone peoples, the original inhabitants of the San Francisco peninsula, said he thought the act was more of an anomaly.\u003c/p>\n\u003cp>“The San Francisco Bay Area is actually one of the areas in the United States where Native peoples have higher visibility than they do in other places, especially in major cities,” said Cordero. “I really see this (vandalism) as an aberration.”\u003c/p>\n\u003cp>But, he added, “when things like this happen, it becomes an opportunity for us to talk about who we are and, unfortunately, continue to have to say that we’re still here … still living in our land, still trying to make our way in the world, despite the adverse consequences of colonization, which are still ongoing.”\u003c/p>\n\u003cp>Sharaya Souza (Taos Pueblo, Ute, Kiowa), co-founder and executive director of the American Indian Cultural District, organized the mural after being asked by the SFRPD, the arts organization \u003ca href=\"https://illuminate.org/\">Illuminate\u003c/a>, and nonprofit \u003ca href=\"https://www.paintthevoid.org/\">Paint the Void\u003c/a> to participate in their Golden Mile Project along the JFK Promenade. The mural is also part of the AICD’s \u003ca href=\"https://americanindianculturaldistrict.org/indigenizesf\">Indigenize Project\u003c/a>, celebrating the long history of Native American life in San Francisco through public art.\u003c/p>\n\u003cp>“We still need to have conversations about being on Native land in San Francisco and how that makes some people feel uncomfortable,” Souza said, adding that she would like to see the mural become a talking point and a permanent installation within Golden Gate Park.\u003c/p>\n\u003cp>Znerold, the muralist, spent Friday repairing the mural alongside other muralists and around a dozen volunteers. She said she plans to continue making murals honoring Native life in San Francisco.\u003c/p>\n\u003cp>“We stand strong with our Native communities, and this has been a project that so many have poured their hearts into,” she said, describing families and passersby who stopped to help with the painting while the mural was in progress. “We’re gonna fix it up and we’re gonna keep coming back and fixing it up.”\u003c/p>\n\u003cp>She added that, as a white woman working in collaboration with Native people, she can go home and choose to not engage with racists, but for people of color and Native people, “this is what they’re facing every day.”\u003c/p>\n\u003cp>The work is part of ongoing efforts to fight racism.\u003c/p>\n\u003cp>“If anti-racist work was done, then we wouldn’t need to be out here. But it is the kind of work you have to keep showing up for every single day. So it’s a reminder, a humbling reminder, that our work is continuous,” said Znerold.\u003c/p>\n\u003cp>“It’s not actually taking anything away from you by just acknowledging the history and acknowledging the contributions and the gifts of the first people of this land.”\u003c/p>\n\u003cp>By Friday evening, the mural had been fully restored.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Oakland Writers Ayodele Nzinga and Leila Mottley\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week, we welcome two contemporary Oakland authors: Leila Mottley and Dr. Ayodele Nzinga. Mottley is an Oakland Youth Poet Laureate, who at just 19 years old published “Nightcrawling” — an immersive novel and an Oprah’s Book Club selection — based on local events. She’s joined by Oakland’s inaugural Poet Laureate, Dr. Ayodele Nzinga, who shines not only as an author but also as a director, actor and educator. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guests:\u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Leila Mottley, “Nightcrawling” author\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Ayodele Nzinga, Oakland Poet Laureate\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>This Week in California News and Politics\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed, together with San Francisco Police Chief Bill Scott and San Francisco District Attorney Brooke Jenkins, announced a renewed push to prosecute drug dealers while also helping people dealing with substance use disorder. We talk with \u003c/span>\u003cb>Scott Shafer,\u003c/b> \u003cb>KQED politics and government senior editor\u003c/b>\u003cspan style=\"font-weight: 400\">, who spoke with Mayor Breed this week.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Something Beautiful: West Oakland Mural Project\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The West Oakland Mural Project highlights the vital role women played in the revolutionary Black Panther Party.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Oakland Writers Ayodele Nzinga and Leila Mottley\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week, we welcome two contemporary Oakland authors: Leila Mottley and Dr. Ayodele Nzinga. Mottley is an Oakland Youth Poet Laureate, who at just 19 years old published “Nightcrawling” — an immersive novel and an Oprah’s Book Club selection — based on local events. She’s joined by Oakland’s inaugural Poet Laureate, Dr. Ayodele Nzinga, who shines not only as an author but also as a director, actor and educator. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guests:\u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Leila Mottley, “Nightcrawling” author\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Ayodele Nzinga, Oakland Poet Laureate\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>This Week in California News and Politics\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed, together with San Francisco Police Chief Bill Scott and San Francisco District Attorney Brooke Jenkins, announced a renewed push to prosecute drug dealers while also helping people dealing with substance use disorder. We talk with \u003c/span>\u003cb>Scott Shafer,\u003c/b> \u003cb>KQED politics and government senior editor\u003c/b>\u003cspan style=\"font-weight: 400\">, who spoke with Mayor Breed this week.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Something Beautiful: West Oakland Mural Project\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The West Oakland Mural Project highlights the vital role women played in the revolutionary Black Panther Party.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'A Leaderless Phenomenon': Critical Mass Celebrates 30th Anniversary",
"title": "'A Leaderless Phenomenon': Critical Mass Celebrates 30th Anniversary",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">At least 400 people turned out to Embarcadero Plaza in San Francisco on Friday evening to celebrate the 30th anniversary of the cycling event known as Critical Mass. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At its simplest, Critical Mass is a group bicycle ride. But it has also been called an “organized coincidence” or a “leaderless phenomenon.” That’s because for the last 30 years, on the last Friday of every month, hundreds and sometimes thousands of cyclists have participated in a ride that has no leadership, organization or planned route to speak of. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927466\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11927466\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-800x600.jpeg\" alt=\"A group of older people pose for a group photo with waving and smiling and buildings in the background.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-1536x1152.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-2048x1536.jpeg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Early Critical Mass riders. From left, Justin Fraser, Amandeep Jawa, Larry Chin, Anna Sojourner, Glenn Bachman, Will Rostov, Chris Carlsson, LisaRuth Elliot, Hugh D’Andrade, Steven Black, Russell Howze, Steve Jones, Quintin Mecke, and Nancy Botkin. \u003ccite>(Courtesy of Hugh D'Andrade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Originally called the “Commute Clot,” the ride began in September 1992 when a group of about 50 friends decided to ride home together after work on a Friday. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Why don't we just get together at the end of the day and ride home together as a way of promoting our own collective experience of bicycling in extremely hostile conditions?” said Chris Carlsson, one of the cyclists who participated in the original ride.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927467\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11927467\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-800x533.jpg\" alt=\"Dozens of people on bicycles ride their bikes with the Ferry Building clock tower in the background.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ride began at 6:30 p.m. on Friday as hundreds of cyclists rode out from the Embarcadero. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cycling in San Francisco in the early 90s was a far cry from the protected bike lanes and hordes of bicycle commuters found on city streets today. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were so angry because you weren't allowed to bicycle in San Francisco in the early 90s. I mean, you certainly could do it, it was legal, but you were taking your life into your own hands.” said Dave Snyder, another cyclist who participated in the original ride. “It was our way of collectively asserting our rights.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927468\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11927468 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-800x317.jpg\" alt='A black-and-white illustration of people riding bikes with the words \"Critical Mass: Visionary Traffic Jams Since 1992\" written at the bottom' width=\"800\" height=\"317\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-800x317.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-1020x404.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-160x63.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-1536x608.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-2048x811.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-1920x760.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass Flyer from 2002 by Hugh D’Andrade, Courtesy of Hugh D'Andrade\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the years, the ride gained popularity in San Francisco. Snyder estimates that over 5,000 people attended a Critical Mass ride in 1996. The ride also spread to other cities. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When it started to spread to other cities right away, we knew that it was something much bigger than we had initially intended,” said Hugh D’Andrade, another original Critical Mass rider. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927469\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11927469\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-800x533.jpg\" alt=\"A woman in a white shirt and a woman in a red shirt with helmets and riding bikes, smile with other cyclists around them.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass has become an international event that has spread to hundreds of cities worldwide. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chris Carlsson estimates that Critical Mass events now take place in over 400 cities across the world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Critical Mass grew, so did the attention it got from local politicians. In 1997, then-Mayor Willie Brown famously \u003c/span>\u003ca href=\"https://www.sfgate.com/news/article/NEWS-ANALYSIS-Bike-Fiasco-Points-Up-S-F-2831483.php\">\u003cspan style=\"font-weight: 400\">ordered the police\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to crack down on the event after thousands of cyclists snarled traffic in city streets.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927470\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg class=\"wp-image-11927470 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM20-poster-2-multi-flat-160x316.png\" alt=\"\" width=\"160\" height=\"316\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM20-poster-2-multi-flat-160x316.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM20-poster-2-multi-flat.png 500w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass Poster from 2012 by Hugh D’Andrade, Courtesy of Hugh D'Andrade\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dave Snyder, who was executive director of the San Francisco Bicycle Coalition at the time, said this moment in Critical Mass’ history produced an inflection point where membership in the Bicycle Coalition soared, and politicians realized they needed to heed calls for better bicycle infrastructure in the city. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That was when the city had to take seriously what the Bicycle Coalition had been asking it to do for a long time,” said Snyder. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It was really interesting when Willie Brown cracked down on Critical Mass. It just caused all the bicyclists to come out in support of our movement. Thanks Willie Brown,” said Hugh D’Andrade.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Critical Mass has received criticism over the years for instances where participants have acted aggressively and violently toward \u003c/span>\u003ca href=\"https://www.latimes.com/local/lanow/la-me-ln-critical-mass-bicyclist-conviction-san-francisco-assault-20160627-snap-story.html\">\u003cspan style=\"font-weight: 400\">motorists\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Cyclist Chris Carlsson says these people are a minority, and characterizes them as the “testosterone brigade.” He says it’s the same bad apples that are present at any public event, but it isn’t what the ride was intended to be, and it’s something the original riders say they fought against in the early years.[pullquote size=\"large\" align=\"right\" citation=\"Chris Carlsson, original Critical Mass rider\"]'Once you're in the streets and you're filling the streets with bicycles and the sound of spinning wheels and tinkling bells and conversation, it just radically alters your imagination about what cities could be.'[/pullquote]\u003c/span>\u003cspan style=\"font-weight: 400\">“In the early days of Critical Mass, we would put a lot of energy into circulating flyers and sort of arguing against that perspective and saying, ‘Hey, that's not really what it's about. We're all about being inclusive. We want to invite people out of their cars to join us.’” said Hugh D’Andrade. “And that took a lot of energy. And, over time, we stopped doing that as much.“\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927471\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11927471 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut.jpg\" alt=\"A woman in her late 30s holds her 10-year-old son and stands next to another woman in her 20s ass they smile at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SF residents Silver Koester, 10, and her mother Lyndsey Hawkins (center), enjoyed the ride. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">D’Andrade himself said, prior to Friday’s anniversary, he hadn’t participated in Critical Mass for a decade. He said he stopped going in 2012 because he felt that the ride had become more dominated by “very loud men yelling.” He said he didn’t feel like it was his scene anymore. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It's always been a leaderless phenomenon, and it's for everybody to shape it as they see fit. I would like to see more women, more people of color, more people with a friendly, inviting attitude coming out to join critical mass.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927472\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11927472 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut.jpg\" alt=\"Two men leaning on their bikes have a chat, one has long hair, the other is wearing a red bandana, both are in the early 20s.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass has been variously described as '\u003cspan style=\"font-weight: 400\">organized coincidence,' a 'leaderless phenomenon,' and a 'visionary traffic jam' over the last three decades.\u003c/span> \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The mood was celebratory on Friday as cyclists riding decorated bikes wearing costumes waited for the 30th anniversary ride to begin. Oakland resident Slim Buick, 55, has been riding with Critical Mass since the mid-90s, and arrived on a custom bicycle constructed of a playground-style spring horse mounted to a BMX bike. His favorite thing about attending? “Meeting people and just riding around.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927475\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11927475\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut.jpg\" alt=\"A man with a wide-brimmed hat, sunglasses, and a suit stands in front of his custom bicycle constructed of a playground-style spring horse mounted to a BMX bike.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oakland resident Slim Buick, 55, arrived on a custom bicycle constructed of a playground-style spring horse mounted to a BMX bike. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Elai Fresco, 30, said the first time he saw Critical Mass was in Madrid, Spain. \u003c/span>\u003cspan style=\"font-weight: 400\">“It was the most party vibe I've ever seen. It was just people enjoying themselves out in the streets. It was kind of a cool contrast from the way you normally think about rush hour traffic on a Friday, where you just see misery and pain and everyone hates it,” said Fresco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maryann Blackwell, 73, said she has been car-free for six years. \u003c/span>“Going to Critical Mass is just what it sounds like. A lot of people riding bikes with no particular rules. We just take over the streets. We take back the streets to the people,” said Blackwell.\u003c/p>\n\u003cfigure id=\"attachment_11927476\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11927476\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut.jpg\" alt=\"A woman in her seventies wearing a helmet, glasses, red long-sleeve sweater and a jean vest waves at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SF resident Maryann Blackwell, 73, said she has been car-free for six years. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alena Kuczynsk, 34, said the ride is empowering. \u003c/span>\u003cspan style=\"font-weight: 400\">“Critical mass just feels like you're a part of a solid unbreakable mass of bikes. You feel powerful and part of community,” said Kuczynsk.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927478\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11927478 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut.jpg\" alt=\"Two women in their 30s pose for the camera in front of a blue bike, one woman is wearing a red jacket, the other a green one with patterns, both are smiling.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alena Kuczynski, 34, of San Francisco (left) and her friend get ready to ride out. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">That community has changed over the years. Original rider Chris \u003c/span>\u003cspan style=\"font-weight: 400\">Carlsson acknowledges the bike scene in San Francisco isn’t what it once was when Critical Mass began. Back then, bicycling was a scrappy subculture that was fighting for its right to a place at the transportation table. These days, as the bicycle coalition has transformed into a political advocacy machine — and as commuting by bicycle has become sensible, not suicidal — Critical Mass in San Francisco feels different.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Events these days draw nowhere near the thousands of cyclists that swelled city streets and blocked intersections in years past. But Carlsson is hopeful that Critical Mass can be repurposed for the pressing issues of today. He says it's a tactic that is available to people to use for a purpose, to use for a mission, if they have one.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It's in the DNA of the culture here. Everybody knows how to do Critical Mass,” said Carlsson. “When the George Floyd moment was upon us back in 2020, there was a mass bike ride. They called it a ‘Critical Mass for George Floyd,’ and 3,000 people showed up. It did everything that Critical Mass ever could do.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927479\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11927479\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut.jpg\" alt=\"A man in his 60s with a trimmed white beard wearing a black cap and a black hoodie smiles as he looks away from the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chris Carlsson, 65, is an original Critical Mass participant. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Around 6:30 p.m., the bikes started leaving the plaza and rolling down the Embarcadero as a pink-hued sunset flooded the sky behind the Bay Bridge. Some cyclists stood in front of cars in intersections, blocking traffic as a steady stream of cyclists rolled past. Giants fans walking to an evening baseball game stopped and stared. Drivers put their heads in their hands. But from the perspective of a bicycle seat, a San Franciscan tradition was taking place. It’s something Chris Carlsson calls “the euphoria of the experience.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Once you're in the streets and you're filling the streets with bicycles and the sound of spinning wheels and tinkling bells and conversation, it just radically alters your imagination about what cities could be.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Hundreds turned out to Embarcadero Plaza in San Francisco on Friday for Critical Mass, which has been held for 30 consecutive years since 1992 and has since spread to over 400 cities.",
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"description": "Hundreds turned out to Embarcadero Plaza in San Francisco on Friday for Critical Mass, which has been held for 30 consecutive years since 1992 and has since spread to over 400 cities.",
"title": "'A Leaderless Phenomenon': Critical Mass Celebrates 30th Anniversary | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">At least 400 people turned out to Embarcadero Plaza in San Francisco on Friday evening to celebrate the 30th anniversary of the cycling event known as Critical Mass. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At its simplest, Critical Mass is a group bicycle ride. But it has also been called an “organized coincidence” or a “leaderless phenomenon.” That’s because for the last 30 years, on the last Friday of every month, hundreds and sometimes thousands of cyclists have participated in a ride that has no leadership, organization or planned route to speak of. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927466\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11927466\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-800x600.jpeg\" alt=\"A group of older people pose for a group photo with waving and smiling and buildings in the background.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-1536x1152.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-2048x1536.jpeg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Early Critical Mass riders. From left, Justin Fraser, Amandeep Jawa, Larry Chin, Anna Sojourner, Glenn Bachman, Will Rostov, Chris Carlsson, LisaRuth Elliot, Hugh D’Andrade, Steven Black, Russell Howze, Steve Jones, Quintin Mecke, and Nancy Botkin. \u003ccite>(Courtesy of Hugh D'Andrade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Originally called the “Commute Clot,” the ride began in September 1992 when a group of about 50 friends decided to ride home together after work on a Friday. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Why don't we just get together at the end of the day and ride home together as a way of promoting our own collective experience of bicycling in extremely hostile conditions?” said Chris Carlsson, one of the cyclists who participated in the original ride.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927467\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11927467\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-800x533.jpg\" alt=\"Dozens of people on bicycles ride their bikes with the Ferry Building clock tower in the background.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ride began at 6:30 p.m. on Friday as hundreds of cyclists rode out from the Embarcadero. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cycling in San Francisco in the early 90s was a far cry from the protected bike lanes and hordes of bicycle commuters found on city streets today. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were so angry because you weren't allowed to bicycle in San Francisco in the early 90s. I mean, you certainly could do it, it was legal, but you were taking your life into your own hands.” said Dave Snyder, another cyclist who participated in the original ride. “It was our way of collectively asserting our rights.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927468\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11927468 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-800x317.jpg\" alt='A black-and-white illustration of people riding bikes with the words \"Critical Mass: Visionary Traffic Jams Since 1992\" written at the bottom' width=\"800\" height=\"317\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-800x317.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-1020x404.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-160x63.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-1536x608.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-2048x811.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-1920x760.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass Flyer from 2002 by Hugh D’Andrade, Courtesy of Hugh D'Andrade\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the years, the ride gained popularity in San Francisco. Snyder estimates that over 5,000 people attended a Critical Mass ride in 1996. The ride also spread to other cities. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When it started to spread to other cities right away, we knew that it was something much bigger than we had initially intended,” said Hugh D’Andrade, another original Critical Mass rider. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927469\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11927469\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-800x533.jpg\" alt=\"A woman in a white shirt and a woman in a red shirt with helmets and riding bikes, smile with other cyclists around them.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass has become an international event that has spread to hundreds of cities worldwide. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chris Carlsson estimates that Critical Mass events now take place in over 400 cities across the world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Critical Mass grew, so did the attention it got from local politicians. In 1997, then-Mayor Willie Brown famously \u003c/span>\u003ca href=\"https://www.sfgate.com/news/article/NEWS-ANALYSIS-Bike-Fiasco-Points-Up-S-F-2831483.php\">\u003cspan style=\"font-weight: 400\">ordered the police\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to crack down on the event after thousands of cyclists snarled traffic in city streets.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927470\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg class=\"wp-image-11927470 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM20-poster-2-multi-flat-160x316.png\" alt=\"\" width=\"160\" height=\"316\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM20-poster-2-multi-flat-160x316.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM20-poster-2-multi-flat.png 500w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass Poster from 2012 by Hugh D’Andrade, Courtesy of Hugh D'Andrade\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dave Snyder, who was executive director of the San Francisco Bicycle Coalition at the time, said this moment in Critical Mass’ history produced an inflection point where membership in the Bicycle Coalition soared, and politicians realized they needed to heed calls for better bicycle infrastructure in the city. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That was when the city had to take seriously what the Bicycle Coalition had been asking it to do for a long time,” said Snyder. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It was really interesting when Willie Brown cracked down on Critical Mass. It just caused all the bicyclists to come out in support of our movement. Thanks Willie Brown,” said Hugh D’Andrade.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Critical Mass has received criticism over the years for instances where participants have acted aggressively and violently toward \u003c/span>\u003ca href=\"https://www.latimes.com/local/lanow/la-me-ln-critical-mass-bicyclist-conviction-san-francisco-assault-20160627-snap-story.html\">\u003cspan style=\"font-weight: 400\">motorists\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Cyclist Chris Carlsson says these people are a minority, and characterizes them as the “testosterone brigade.” He says it’s the same bad apples that are present at any public event, but it isn’t what the ride was intended to be, and it’s something the original riders say they fought against in the early years.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003cspan style=\"font-weight: 400\">“In the early days of Critical Mass, we would put a lot of energy into circulating flyers and sort of arguing against that perspective and saying, ‘Hey, that's not really what it's about. We're all about being inclusive. We want to invite people out of their cars to join us.’” said Hugh D’Andrade. “And that took a lot of energy. And, over time, we stopped doing that as much.“\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927471\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11927471 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut.jpg\" alt=\"A woman in her late 30s holds her 10-year-old son and stands next to another woman in her 20s ass they smile at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SF residents Silver Koester, 10, and her mother Lyndsey Hawkins (center), enjoyed the ride. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">D’Andrade himself said, prior to Friday’s anniversary, he hadn’t participated in Critical Mass for a decade. He said he stopped going in 2012 because he felt that the ride had become more dominated by “very loud men yelling.” He said he didn’t feel like it was his scene anymore. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It's always been a leaderless phenomenon, and it's for everybody to shape it as they see fit. I would like to see more women, more people of color, more people with a friendly, inviting attitude coming out to join critical mass.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927472\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11927472 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut.jpg\" alt=\"Two men leaning on their bikes have a chat, one has long hair, the other is wearing a red bandana, both are in the early 20s.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass has been variously described as '\u003cspan style=\"font-weight: 400\">organized coincidence,' a 'leaderless phenomenon,' and a 'visionary traffic jam' over the last three decades.\u003c/span> \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The mood was celebratory on Friday as cyclists riding decorated bikes wearing costumes waited for the 30th anniversary ride to begin. Oakland resident Slim Buick, 55, has been riding with Critical Mass since the mid-90s, and arrived on a custom bicycle constructed of a playground-style spring horse mounted to a BMX bike. His favorite thing about attending? “Meeting people and just riding around.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927475\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11927475\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut.jpg\" alt=\"A man with a wide-brimmed hat, sunglasses, and a suit stands in front of his custom bicycle constructed of a playground-style spring horse mounted to a BMX bike.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oakland resident Slim Buick, 55, arrived on a custom bicycle constructed of a playground-style spring horse mounted to a BMX bike. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Elai Fresco, 30, said the first time he saw Critical Mass was in Madrid, Spain. \u003c/span>\u003cspan style=\"font-weight: 400\">“It was the most party vibe I've ever seen. It was just people enjoying themselves out in the streets. It was kind of a cool contrast from the way you normally think about rush hour traffic on a Friday, where you just see misery and pain and everyone hates it,” said Fresco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maryann Blackwell, 73, said she has been car-free for six years. \u003c/span>“Going to Critical Mass is just what it sounds like. A lot of people riding bikes with no particular rules. We just take over the streets. We take back the streets to the people,” said Blackwell.\u003c/p>\n\u003cfigure id=\"attachment_11927476\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11927476\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut.jpg\" alt=\"A woman in her seventies wearing a helmet, glasses, red long-sleeve sweater and a jean vest waves at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SF resident Maryann Blackwell, 73, said she has been car-free for six years. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alena Kuczynsk, 34, said the ride is empowering. \u003c/span>\u003cspan style=\"font-weight: 400\">“Critical mass just feels like you're a part of a solid unbreakable mass of bikes. You feel powerful and part of community,” said Kuczynsk.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927478\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11927478 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut.jpg\" alt=\"Two women in their 30s pose for the camera in front of a blue bike, one woman is wearing a red jacket, the other a green one with patterns, both are smiling.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alena Kuczynski, 34, of San Francisco (left) and her friend get ready to ride out. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">That community has changed over the years. Original rider Chris \u003c/span>\u003cspan style=\"font-weight: 400\">Carlsson acknowledges the bike scene in San Francisco isn’t what it once was when Critical Mass began. Back then, bicycling was a scrappy subculture that was fighting for its right to a place at the transportation table. These days, as the bicycle coalition has transformed into a political advocacy machine — and as commuting by bicycle has become sensible, not suicidal — Critical Mass in San Francisco feels different.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Events these days draw nowhere near the thousands of cyclists that swelled city streets and blocked intersections in years past. But Carlsson is hopeful that Critical Mass can be repurposed for the pressing issues of today. He says it's a tactic that is available to people to use for a purpose, to use for a mission, if they have one.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It's in the DNA of the culture here. Everybody knows how to do Critical Mass,” said Carlsson. “When the George Floyd moment was upon us back in 2020, there was a mass bike ride. They called it a ‘Critical Mass for George Floyd,’ and 3,000 people showed up. It did everything that Critical Mass ever could do.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927479\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11927479\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut.jpg\" alt=\"A man in his 60s with a trimmed white beard wearing a black cap and a black hoodie smiles as he looks away from the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chris Carlsson, 65, is an original Critical Mass participant. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Around 6:30 p.m., the bikes started leaving the plaza and rolling down the Embarcadero as a pink-hued sunset flooded the sky behind the Bay Bridge. Some cyclists stood in front of cars in intersections, blocking traffic as a steady stream of cyclists rolled past. Giants fans walking to an evening baseball game stopped and stared. Drivers put their heads in their hands. But from the perspective of a bicycle seat, a San Franciscan tradition was taking place. It’s something Chris Carlsson calls “the euphoria of the experience.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Once you're in the streets and you're filling the streets with bicycles and the sound of spinning wheels and tinkling bells and conversation, it just radically alters your imagination about what cities could be.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-loss-of-my-familys-farm-is-a-loss-for-californias-japanese-agricultural-legacy",
"title": "The Loss of My Family's Farm Is a Loss for California's Japanese Agricultural Legacy",
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"headTitle": "The Loss of My Family’s Farm Is a Loss for California’s Japanese Agricultural Legacy | KQED",
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"content": "\u003cp>\u003cem>This story comes to us as part of a collaboration with \u003ca href=\"https://civileats.com/\">Civil Eats\u003c/a>, a daily news source for critical thought about the American food system.\u003c/em>\u003c/p>\n\u003cp>For much of my 20s, I fantasized about working on a farm. I’d wake up with the birds and spend most of my time outdoors, learning about the basics like soil composition, pest management and tractor safety. The plants themselves would teach the more conceptual subjects, on tenacity and growth. This version of myself would be more attuned to nature and to herself — the kind of knowing that I imagined could only come from true solitude, away from technology and the white noise of everyday life. The farm would be my “Walden.”\u003c/p>\n\u003cp>I didn’t realize it then, but my daydreaming wasn’t just a coping mechanism — it was largely a yearning for connection with my Japanese heritage, and the side of my family I share it with. They’d been farming in California since immigrating, and, when I was growing up, our relationship had mostly boiled down to annual pleasantries (not including my bachan, my grandma, who attended all of my horse shows and volleyball games with a bag of salty Tengu beef jerky in hand).\u003c/p>\n\u003cfigure id=\"attachment_11927398\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11927398\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers-800x1067.jpg\" alt=\"A woman on a farm holding cut sunflowers.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caroline Hatano harvesting her first sunflowers at Siena Farms in Sudbury, Massachusetts, in 2021. \u003ccite>(Courtesy of Caroline Hatano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t until last year, on the brink of turning 30, that I finally got the nerve to hit pause on the college-to-corporate-America pipeline to work on a vegetable farm just outside Boston. At my 9-to-5 job, I’d been a senior editor at a small content agency. On the farm, I was just another Carhartt-clad apprentice plastering bandages on my tender, cracked hands. Each week, we’d seed new plants in the greenhouse, transplant and maintain seedlings in the fields, harvest as fast as we could, and pack boxes for the weekly CSA (community-supported agriculture) in an assembly line, with someone’s playlist setting the pace.\u003c/p>\n\u003cp>Before I ever even touched a harvest knife, I knew my favorite crop would be sunflowers. And sure enough, every time I worked my way down a towering row, tilting each flower’s belly down to check how many petals had popped, stumbling out of the field with as many as I could sling across each arm, infant-style, I was reminded of my jichan — my grandpa.\u003c/p>\n\u003cdiv class=\"post-simple\">\n\u003cp>Some 70 years ago, he had sized up his newly leased plot of land and \u003ca href=\"https://www.dailybreeze.com/2021/11/24/the-last-japanese-american-farm-on-the-palos-verdes-peninsula-will-close-this-is-why/\">decided to gamble on the very same flower\u003c/a>. His farm was across the country in Rancho Palos Verdes, California, a coastal Los Angeles suburb that looks like a California tourism poster, with dramatic rolling hills and cliffs to match. When he died in 2015, just a year after retiring, I had a kind of awakening, realizing I’d missed my opportunity to connect with him in any kind of meaningful adult way.\u003c/p>\n\u003cp>Not long after I wrapped up my apprenticeship and moved to Brooklyn, I learned that his farm, which had continued to operate under his longtime foreman, \u003ca href=\"https://abc7.com/rancho-palos-verdes-hatano-farm-facing-shut-down-land-use/11569082/\">would soon be forced to close\u003c/a>. Like many farmers in the U.S., he’d rented his land, and \u003ca href=\"https://www.dailybreeze.com/2021/11/24/the-last-japanese-american-farm-on-the-palos-verdes-peninsula-will-close-this-is-why/\">under pressure\u003c/a> from the National Park Service, the city of Rancho Palos Verdes was terminating the lease. It would have meant the end of an era for my family regardless, but his farm also happens to hold a larger, more significant legacy: It’s the last Japanese American-founded farm on a peninsula that was once home to hundreds of them — and on Aug. 16, 2022, it ceased to exist.\u003c/p>\n\u003cfigure id=\"attachment_11927395\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11927395\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-800x590.jpg\" alt=\"A man holding baby's breath flowers, while standing beside a white van.\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers.jpg 1075w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Hatano favored baby’s breath on his Rancho Palos Verdes ranch, for its slight drought resistance. \u003ccite>(Courtesy of the Hatano family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I grew up hearing stories about what the peninsula used to be like, back when it was crowded with strawberry and garbanzo bean farms run by Japanese Americans, and my dad would go pigeon hunting with the rest of the farm kids as a method of pest control. Now the area is home to a Trump golf course, a luxury coastal resort and neat rows of identical houses. That’s all thanks to the Japanese American community, which first leased the land in 1882 and transformed it from desert into \u003ca href=\"https://www.sunset.com/home-garden/brief-history-of-japanese-american-farmers-in-the-west\">fertile farmland\u003c/a>. Together, many of the farmers pioneered dry-farming techniques that are still in use today, and increasingly important as California’s climate grows increasingly arid.\u003c/p>\n\u003cp>I’ve since learned that a similar story played out up and down the West Coast, despite Japanese immigrants not being able to legally own agricultural land in California until 1952. By the 1910s, nearly two-thirds of residents with Japanese ancestry on the West Coast worked in farming. And they were incredibly successful at it — \u003ca href=\"https://www.archives.gov/files/research/japanese-americans/justice-denied/chapter-4.pdf\">the average value per acre was $280\u003c/a> for Japanese farms, versus an average $38 for all West Coast farms. In Los Angeles County, where my jichan raised sunflowers and baby’s breath, Japanese American farmers generated $16 million of the $25 million flower market business.\u003c/p>\n\u003cfigure id=\"attachment_11927394\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11927394\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-800x524.jpeg\" alt=\"An newsletter description about the Future Farmers of America, showing a photo of young Japanese men.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-800x524.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-1020x668.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan.jpeg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">While incarcerated at the Poston, Arizona, camp, James Hatano was a member of the Future Farmers of America organization. \u003ccite>(Courtesy of the Hatano family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It makes sense, then, that in 1942, when 120,000 Japanese people on the West Coast (\u003ca href=\"https://qz.com/1201502/japanese-internment-camps-during-world-war-ii-are-a-lesson-in-the-scary-economics-of-racial-resentment/\">the vast majority of whom were American citizens\u003c/a>) were incarcerated in concentration camps following Executive Order 9066, white growers were the ones who benefited from commodity price spikes due to shortages. And it’s no coincidence that today, white landowners still control an estimated 98% of farmland in the U.S. I was reminded of this fact every time I toured another organic farm last summer — each grew the same things, used the same tools, shared the same foundational history.\u003c/p>\n\u003cp>In the subsequent years of incarceration, many Japanese Americans \u003ca href=\"https://www.sunset.com/home-garden/brief-history-of-japanese-american-farmers-in-the-west\">lost their land, had their equipment stolen, and were forced into agricultural work at camps\u003c/a>. Most never returned to their former agrarian lives. After the war, the U.S. Department of Agriculture estimates that Japanese American farm ownership, including leases, dropped to \u003ca href=\"https://www.npr.org/sections/thesalt/2017/02/19/515822019/farming-behind-barbed-wire-japanese-americans-remember-wwii-incarceration\">less than a quarter\u003c/a> of what it had been.\u003c/p>\n\u003cp>My jichan was incarcerated in the Poston, Arizona, camp as a teenager, eventually escaping by enlisting in the military. It wasn’t until the 1950s that he leased his peninsula plot from the military, \u003ca href=\"https://www.visualcapitalist.com/how-much-land-does-the-u-s-military-control-in-each-state/\">which still controls 1.7 million acres of land in California\u003c/a>. When the city of Rancho Palos Verdes was incorporated in 1973, part of the land-transfer agreement mandated that the parcel he was on be converted to recreational use.\u003c/p>\n\u003cp>Whether it was out of guilt, respect or plain-old bureaucratic disorganization, the city allowed my jichan to renew his lease anyway until 2014. That was the year he retired and transferred the lease to Martin Martinez, who had started working with him at the farm as a teenage immigrant from Mexico. Allowing his legacy to live on through Martinez would have been especially meaningful, as he represents another oppressed community that now forms the backbone of California agriculture.\u003c/p>\n\u003cp>When my jichan’s lease expires, with it will go our community’s only tangible tie to the land we nurtured and made viable, land that provided Japanese Americans with livelihoods, camaraderie and an anchor in times of great turbulence and terror. And although Rancho Palos Verdes is pursuing a historical designation with the intention of preserving that history in some way, it doesn’t feel equitable in any sense. A plaque doesn’t maintain a sense of place.\u003c/p>\n\u003cp>\u003ca href=\"https://www.seattletimes.com/life/food-drink/meet-bainbridge-islands-last-japanese-american-farmer/#:~:text=Across%20the%20island%2C%20Japanese%20American,community%20of%20Japanese%20American%20farmers.\">And this story isn’t singular\u003c/a>, which naturally leads me to a string of what-ifs: If Executive Order 9066 had never been issued, if Japanese Americans didn’t suffer devastating economic setbacks as a result, if we didn’t continue to face discriminatory laws after the war ended, would my jichan have been able to buy land? Would property ownership alone have dramatically changed California’s agricultural landscape?\u003c/p>\n\u003cp>Of course, leasing farmland is still common practice today: In 2016, the USDA reported that \u003ca href=\"https://www.ers.usda.gov/topics/farm-economy/land-use-land-value-tenure/farmland-ownership-and-tenure/#:~:text=Approximately%2039%20percent%20of%20the,over%2025%20percent%20of%20pastureland\">more than half of cropland in the U.S. is rented\u003c/a>. An inability to acquire land is one of the \u003ca href=\"https://www.agriculture.com/news/business/barriers-for-beginning-farmers\">biggest barriers to entry for new farmers\u003c/a>, and because many white families already own farmland or other land they can sell to acquire it, farming remains a predominantly white industry. Like many things in this country, the hierarchy — with white landowners at the top and immigrant laborers at the bottom — stays intact by structural design.\u003c/p>\n\u003cfigure id=\"attachment_11927399\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11927399\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales.jpg\" alt=\"Three farmers pose in a crop of nopales.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales-160x118.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nopales were also a common crop on Hatano’s farm, which sold well to Mexican restaurants in the area. \u003ccite>(Courtesy of the Hatano family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before I started my apprenticeship, I wondered if one season of farming would be enough to fulfill my agrarian fantasy. Now, a full year out, I find myself mentally drifting back to the easy routine of last summer — of spending all day with my hands in the dirt, playing Marco Polo in the sunflower fields, driving home in silence with the windows down, smelling like sweat and tomato plants. I recognize in farming and gardening an opportunity to feed people, but also to build collective knowledge, establish traditions and honor shared history. And, eventually, I hope, to challenge the status quo.\u003c/p>\n\u003cp>One of the things I like most about farming is that you’re always building on your own work. Over time you create the kind of soil you want, and each season you review last year’s notes and make adjustments to improve yield. It’s a practice that rewards patience. In some ways, turning soil over is almost like burying our dead — cover crops and sunflower stalks become food for the next generation. Which means that long after you’ve left land behind, there’s always evidence you were there.\u003c/p>\n\u003cp>My jichan’s farm might no longer exist in name after this month, but in every plant that blooms up and down the peninsula, there will be a small piece of him and the community he belonged to. And that’s something no one can take away.\u003c/p>\n\u003c/div>\n\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "An ode to the Japanese American community that transformed Southern California into the agricultural hub it is today. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story comes to us as part of a collaboration with \u003ca href=\"https://civileats.com/\">Civil Eats\u003c/a>, a daily news source for critical thought about the American food system.\u003c/em>\u003c/p>\n\u003cp>For much of my 20s, I fantasized about working on a farm. I’d wake up with the birds and spend most of my time outdoors, learning about the basics like soil composition, pest management and tractor safety. The plants themselves would teach the more conceptual subjects, on tenacity and growth. This version of myself would be more attuned to nature and to herself — the kind of knowing that I imagined could only come from true solitude, away from technology and the white noise of everyday life. The farm would be my “Walden.”\u003c/p>\n\u003cp>I didn’t realize it then, but my daydreaming wasn’t just a coping mechanism — it was largely a yearning for connection with my Japanese heritage, and the side of my family I share it with. They’d been farming in California since immigrating, and, when I was growing up, our relationship had mostly boiled down to annual pleasantries (not including my bachan, my grandma, who attended all of my horse shows and volleyball games with a bag of salty Tengu beef jerky in hand).\u003c/p>\n\u003cfigure id=\"attachment_11927398\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11927398\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers-800x1067.jpg\" alt=\"A woman on a farm holding cut sunflowers.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caroline Hatano harvesting her first sunflowers at Siena Farms in Sudbury, Massachusetts, in 2021. \u003ccite>(Courtesy of Caroline Hatano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t until last year, on the brink of turning 30, that I finally got the nerve to hit pause on the college-to-corporate-America pipeline to work on a vegetable farm just outside Boston. At my 9-to-5 job, I’d been a senior editor at a small content agency. On the farm, I was just another Carhartt-clad apprentice plastering bandages on my tender, cracked hands. Each week, we’d seed new plants in the greenhouse, transplant and maintain seedlings in the fields, harvest as fast as we could, and pack boxes for the weekly CSA (community-supported agriculture) in an assembly line, with someone’s playlist setting the pace.\u003c/p>\n\u003cp>Before I ever even touched a harvest knife, I knew my favorite crop would be sunflowers. And sure enough, every time I worked my way down a towering row, tilting each flower’s belly down to check how many petals had popped, stumbling out of the field with as many as I could sling across each arm, infant-style, I was reminded of my jichan — my grandpa.\u003c/p>\n\u003cdiv class=\"post-simple\">\n\u003cp>Some 70 years ago, he had sized up his newly leased plot of land and \u003ca href=\"https://www.dailybreeze.com/2021/11/24/the-last-japanese-american-farm-on-the-palos-verdes-peninsula-will-close-this-is-why/\">decided to gamble on the very same flower\u003c/a>. His farm was across the country in Rancho Palos Verdes, California, a coastal Los Angeles suburb that looks like a California tourism poster, with dramatic rolling hills and cliffs to match. When he died in 2015, just a year after retiring, I had a kind of awakening, realizing I’d missed my opportunity to connect with him in any kind of meaningful adult way.\u003c/p>\n\u003cp>Not long after I wrapped up my apprenticeship and moved to Brooklyn, I learned that his farm, which had continued to operate under his longtime foreman, \u003ca href=\"https://abc7.com/rancho-palos-verdes-hatano-farm-facing-shut-down-land-use/11569082/\">would soon be forced to close\u003c/a>. Like many farmers in the U.S., he’d rented his land, and \u003ca href=\"https://www.dailybreeze.com/2021/11/24/the-last-japanese-american-farm-on-the-palos-verdes-peninsula-will-close-this-is-why/\">under pressure\u003c/a> from the National Park Service, the city of Rancho Palos Verdes was terminating the lease. It would have meant the end of an era for my family regardless, but his farm also happens to hold a larger, more significant legacy: It’s the last Japanese American-founded farm on a peninsula that was once home to hundreds of them — and on Aug. 16, 2022, it ceased to exist.\u003c/p>\n\u003cfigure id=\"attachment_11927395\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11927395\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-800x590.jpg\" alt=\"A man holding baby's breath flowers, while standing beside a white van.\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers.jpg 1075w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Hatano favored baby’s breath on his Rancho Palos Verdes ranch, for its slight drought resistance. \u003ccite>(Courtesy of the Hatano family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I grew up hearing stories about what the peninsula used to be like, back when it was crowded with strawberry and garbanzo bean farms run by Japanese Americans, and my dad would go pigeon hunting with the rest of the farm kids as a method of pest control. Now the area is home to a Trump golf course, a luxury coastal resort and neat rows of identical houses. That’s all thanks to the Japanese American community, which first leased the land in 1882 and transformed it from desert into \u003ca href=\"https://www.sunset.com/home-garden/brief-history-of-japanese-american-farmers-in-the-west\">fertile farmland\u003c/a>. Together, many of the farmers pioneered dry-farming techniques that are still in use today, and increasingly important as California’s climate grows increasingly arid.\u003c/p>\n\u003cp>I’ve since learned that a similar story played out up and down the West Coast, despite Japanese immigrants not being able to legally own agricultural land in California until 1952. By the 1910s, nearly two-thirds of residents with Japanese ancestry on the West Coast worked in farming. And they were incredibly successful at it — \u003ca href=\"https://www.archives.gov/files/research/japanese-americans/justice-denied/chapter-4.pdf\">the average value per acre was $280\u003c/a> for Japanese farms, versus an average $38 for all West Coast farms. In Los Angeles County, where my jichan raised sunflowers and baby’s breath, Japanese American farmers generated $16 million of the $25 million flower market business.\u003c/p>\n\u003cfigure id=\"attachment_11927394\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11927394\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-800x524.jpeg\" alt=\"An newsletter description about the Future Farmers of America, showing a photo of young Japanese men.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-800x524.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-1020x668.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan.jpeg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">While incarcerated at the Poston, Arizona, camp, James Hatano was a member of the Future Farmers of America organization. \u003ccite>(Courtesy of the Hatano family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It makes sense, then, that in 1942, when 120,000 Japanese people on the West Coast (\u003ca href=\"https://qz.com/1201502/japanese-internment-camps-during-world-war-ii-are-a-lesson-in-the-scary-economics-of-racial-resentment/\">the vast majority of whom were American citizens\u003c/a>) were incarcerated in concentration camps following Executive Order 9066, white growers were the ones who benefited from commodity price spikes due to shortages. And it’s no coincidence that today, white landowners still control an estimated 98% of farmland in the U.S. I was reminded of this fact every time I toured another organic farm last summer — each grew the same things, used the same tools, shared the same foundational history.\u003c/p>\n\u003cp>In the subsequent years of incarceration, many Japanese Americans \u003ca href=\"https://www.sunset.com/home-garden/brief-history-of-japanese-american-farmers-in-the-west\">lost their land, had their equipment stolen, and were forced into agricultural work at camps\u003c/a>. Most never returned to their former agrarian lives. After the war, the U.S. Department of Agriculture estimates that Japanese American farm ownership, including leases, dropped to \u003ca href=\"https://www.npr.org/sections/thesalt/2017/02/19/515822019/farming-behind-barbed-wire-japanese-americans-remember-wwii-incarceration\">less than a quarter\u003c/a> of what it had been.\u003c/p>\n\u003cp>My jichan was incarcerated in the Poston, Arizona, camp as a teenager, eventually escaping by enlisting in the military. It wasn’t until the 1950s that he leased his peninsula plot from the military, \u003ca href=\"https://www.visualcapitalist.com/how-much-land-does-the-u-s-military-control-in-each-state/\">which still controls 1.7 million acres of land in California\u003c/a>. When the city of Rancho Palos Verdes was incorporated in 1973, part of the land-transfer agreement mandated that the parcel he was on be converted to recreational use.\u003c/p>\n\u003cp>Whether it was out of guilt, respect or plain-old bureaucratic disorganization, the city allowed my jichan to renew his lease anyway until 2014. That was the year he retired and transferred the lease to Martin Martinez, who had started working with him at the farm as a teenage immigrant from Mexico. Allowing his legacy to live on through Martinez would have been especially meaningful, as he represents another oppressed community that now forms the backbone of California agriculture.\u003c/p>\n\u003cp>When my jichan’s lease expires, with it will go our community’s only tangible tie to the land we nurtured and made viable, land that provided Japanese Americans with livelihoods, camaraderie and an anchor in times of great turbulence and terror. And although Rancho Palos Verdes is pursuing a historical designation with the intention of preserving that history in some way, it doesn’t feel equitable in any sense. A plaque doesn’t maintain a sense of place.\u003c/p>\n\u003cp>\u003ca href=\"https://www.seattletimes.com/life/food-drink/meet-bainbridge-islands-last-japanese-american-farmer/#:~:text=Across%20the%20island%2C%20Japanese%20American,community%20of%20Japanese%20American%20farmers.\">And this story isn’t singular\u003c/a>, which naturally leads me to a string of what-ifs: If Executive Order 9066 had never been issued, if Japanese Americans didn’t suffer devastating economic setbacks as a result, if we didn’t continue to face discriminatory laws after the war ended, would my jichan have been able to buy land? Would property ownership alone have dramatically changed California’s agricultural landscape?\u003c/p>\n\u003cp>Of course, leasing farmland is still common practice today: In 2016, the USDA reported that \u003ca href=\"https://www.ers.usda.gov/topics/farm-economy/land-use-land-value-tenure/farmland-ownership-and-tenure/#:~:text=Approximately%2039%20percent%20of%20the,over%2025%20percent%20of%20pastureland\">more than half of cropland in the U.S. is rented\u003c/a>. An inability to acquire land is one of the \u003ca href=\"https://www.agriculture.com/news/business/barriers-for-beginning-farmers\">biggest barriers to entry for new farmers\u003c/a>, and because many white families already own farmland or other land they can sell to acquire it, farming remains a predominantly white industry. Like many things in this country, the hierarchy — with white landowners at the top and immigrant laborers at the bottom — stays intact by structural design.\u003c/p>\n\u003cfigure id=\"attachment_11927399\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11927399\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales.jpg\" alt=\"Three farmers pose in a crop of nopales.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales-160x118.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nopales were also a common crop on Hatano’s farm, which sold well to Mexican restaurants in the area. \u003ccite>(Courtesy of the Hatano family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before I started my apprenticeship, I wondered if one season of farming would be enough to fulfill my agrarian fantasy. Now, a full year out, I find myself mentally drifting back to the easy routine of last summer — of spending all day with my hands in the dirt, playing Marco Polo in the sunflower fields, driving home in silence with the windows down, smelling like sweat and tomato plants. I recognize in farming and gardening an opportunity to feed people, but also to build collective knowledge, establish traditions and honor shared history. And, eventually, I hope, to challenge the status quo.\u003c/p>\n\u003cp>One of the things I like most about farming is that you’re always building on your own work. Over time you create the kind of soil you want, and each season you review last year’s notes and make adjustments to improve yield. It’s a practice that rewards patience. In some ways, turning soil over is almost like burying our dead — cover crops and sunflower stalks become food for the next generation. Which means that long after you’ve left land behind, there’s always evidence you were there.\u003c/p>\n\u003cp>My jichan’s farm might no longer exist in name after this month, but in every plant that blooms up and down the peninsula, there will be a small piece of him and the community he belonged to. And that’s something no one can take away.\u003c/p>\n\u003c/div>\n\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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