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"content": "\u003cp>As the \u003ca href=\"https://montereyjazzfestival.org/\">Monterey Jazz Festival\u003c/a> kicks off again this weekend, \u003ca href=\"https://www.kqed.org/californiareportmagazine\">The California Report Magazine\u003c/a> goes back in time to a chilly evening at the festival 60 years ago.\u003c/p>\n\u003cp>On Sept. 23, 1962, a groundbreaking musical premiered its first — and only — performance there.\u003c/p>\n\u003cp>[aside postID=arts_13916363 hero='https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-1536x1202.jpeg']It was called “\u003ca href=\"https://www.kqed.org/arts/13916363/dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened\">The Real Ambassadors\u003c/a>,” and it featured a glittering array of jazz titans, including Louis Armstrong.\u003c/p>\n\u003cp>This was the height of the civil rights movement, and the musical cast artists of different races, challenging racism and social injustice through jazz.\u003c/p>\n\u003cp>“The Real Ambassadors” was written by two Californians influential in moving jazz into the mainstream: Dave and Iola Brubeck. He grew up on a cattle ranch in Ione in Amador County; she, in Redding. They met in Stockton at College of the Pacific in 1945, and went on to become a couple and lifelong collaborators. They were living in the Oakland hills when they first came up with the idea of “The Real Ambassadors,” as a Broadway musical.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The musical gets its name from the “cultural ambassador” title bestowed on Brubeck, Armstrong and other jazz musicians the \u003ca href=\"https://eca.state.gov/jazzdiplomacy\">U.S. State Department began sending abroad in the 1950s\u003c/a> to share American music and culture.\u003c/p>\n\u003cp>Many of the Black musicians on the tour were treated as heroes abroad. But when returning home to segregation in the U.S., they were often forced to enter the venues they played through the service door. “The Real Ambassadors” questions this hypocrisy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YtTL-Z5EyEY&t=9s\u003c/p>\n\u003cp>The Brubecks’ musical was a chance for Louis Armstrong to speak out about his deep feelings about racism and segregation in this country — feelings he rarely expressed publicly.\u003c/p>\n\u003cp>“The Real Ambassadors” never made it to Broadway as intended, and there’s no recording of its one performance at the Monterey Jazz Festival. But Columbia Records did record the bulk of the score, with lyrics that, in the \u003ca href=\"https://www.kqed.org/arts/13916363/dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened\">words of arts critic Andrew Gilbert\u003c/a>, “confronted Jim Crow segregation and racial prejudice with radical theology and a strikingly melodic score.”\u003c/p>\n\u003cp>\u003cem>Find the play button at the top of this page to listen to this audio journey, rich with original music, rare archival recorded letters back and forth between the Brubecks and Louis Armstrong about the project, and rehearsal recordings and interviews with Dave and Iola Brubeck. The documentary duo \u003ca href=\"https://kitchensisters.org/\">The Kitchen Sisters\u003c/a>, in collaboration with \u003ca href=\"http://theechochamberpodcast.com/about-us-2/\">Brandi Howell and the Echo Chamber podcast\u003c/a>, brought us this project. Other voices include: the Brubecks’ sons, Chris Brubeck and Dan Brubeck; Keith Hatschek, author of the newly released book “The Real Ambassadors”; Ricky Riccardi, director of research collections for the Louis Armstrong House Museum; and singer/actress Yolande Bavan, the last surviving performer involved in the project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The musical gets its name from the “cultural ambassador” title bestowed on Brubeck, Armstrong and other jazz musicians the \u003ca href=\"https://eca.state.gov/jazzdiplomacy\">U.S. State Department began sending abroad in the 1950s\u003c/a> to share American music and culture.\u003c/p>\n\u003cp>Many of the Black musicians on the tour were treated as heroes abroad. But when returning home to segregation in the U.S., they were often forced to enter the venues they played through the service door. “The Real Ambassadors” questions this hypocrisy.\u003c/p>\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/YtTL-Z5EyEY'\n title='//www.youtube.com/embed/YtTL-Z5EyEY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Brubecks’ musical was a chance for Louis Armstrong to speak out about his deep feelings about racism and segregation in this country — feelings he rarely expressed publicly.\u003c/p>\n\u003cp>“The Real Ambassadors” never made it to Broadway as intended, and there’s no recording of its one performance at the Monterey Jazz Festival. But Columbia Records did record the bulk of the score, with lyrics that, in the \u003ca href=\"https://www.kqed.org/arts/13916363/dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened\">words of arts critic Andrew Gilbert\u003c/a>, “confronted Jim Crow segregation and racial prejudice with radical theology and a strikingly melodic score.”\u003c/p>\n\u003cp>\u003cem>Find the play button at the top of this page to listen to this audio journey, rich with original music, rare archival recorded letters back and forth between the Brubecks and Louis Armstrong about the project, and rehearsal recordings and interviews with Dave and Iola Brubeck. The documentary duo \u003ca href=\"https://kitchensisters.org/\">The Kitchen Sisters\u003c/a>, in collaboration with \u003ca href=\"http://theechochamberpodcast.com/about-us-2/\">Brandi Howell and the Echo Chamber podcast\u003c/a>, brought us this project. Other voices include: the Brubecks’ sons, Chris Brubeck and Dan Brubeck; Keith Hatschek, author of the newly released book “The Real Ambassadors”; Ricky Riccardi, director of research collections for the Louis Armstrong House Museum; and singer/actress Yolande Bavan, the last surviving performer involved in the project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "She Fought Racism in Early Hollywood. Now She'll Be the First Asian American on US Currency",
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"headTitle": "She Fought Racism in Early Hollywood. Now She’ll Be the First Asian American on US Currency | KQED",
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"content": "\u003cp>Picture this: It’s the 1910s in Los Angeles, and the motion picture industry has just relocated from New York to its new home: Hollywood. A young Chinese American girl, enamored by the glitz and glamor of the big screen, starts skipping school to sneak onto film sets.\u003c/p>\n\u003cp>It’s been said that movie executives, upon noticing her, gave her the alliterative nickname “the curious Chinese child.” While still young, she came up with another name for herself — Anna May Wong — and she would go on to become Hollywood’s first Chinese American film star.\u003c/p>\n\u003cp>Wong fought the ever-present obstacle of institutional racism in the film industry to forge a remarkable career that spanned 40 years. She contended with limited lead roles, stereotypical casting and vast pay inequities between her and her white counterparts.\u003c/p>\n\u003cp>While Wong was often relegated to clichéd roles in Hollywood, she also broke innumerable barriers for Asian American actors at the time, due to the longevity of her career. She would go on to appear in over 60 films throughout her life, and her career successfully weathered the transition from silent films to “talkies.”\u003c/p>\n\u003cfigure id=\"attachment_11925840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-3205581-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11925840\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-3205581-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-1536x1094.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-2048x1459.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-1920x1368.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anna May Wong poses with a cut rose. \u003ccite>(General Photographic Agency/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sixty years after her death, Wong’s legacy lives on in film and fashion — her iconic looks helped popularize the flapper style of the 1920s. Now her contributions will be honored by one of the most quintessentially American symbols: the quarter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This fall, the U.S. Mint is paying tribute to Anna May Wong by releasing a coin with her image. She’s one of five American women being recognized posthumously with the honor. Already released are \u003ca href=\"https://www.littletoncoin.com/shop/US-Women-Quarters-Release-Schedule?gclid=Cj0KCQjw94WZBhDtARIsAKxWG-_6m3TmVuY-4iP6NOvdrWRNMaXAWogQP4RLZepHADuMnsjf9exmZJcaAoPhEALw_wcB\">\u003cspan style=\"font-weight: 400\">quarters honoring author Maya Angelou, astronaut Sally Ride, Cherokee Chief Wilma Mankiller and suffragette and author Nina Otero-Warren\u003c/span>\u003c/a>.\u003c/p>\n\u003cp>Anna May Wong was born Wong Liu Tsong in Chinatown, Los Angeles, in 1905. A third-generation Chinese American, she grew up helping out at her father’s laundromat on North Figueroa Street. In 1922 she appeared in one of the first Technicolor films, “The Toll of the Sea,” a silent film in which she played a character named Lotus Flower who falls in love with an American man only to be abandoned by him. At the end of the film, Lotus Flower takes her own life.\u003c/p>\n\u003cp>[pullquote size='small' citation='Anna May Wong']‘Why is it that the screen Chinese is nearly always the villain of the piece, and so cruel a villain\u003cspan style=\"font-weight: 400\"> — \u003c/span>murderous, treacherous, a snake in the grass. We are not like that.’[/pullquote]The term “lotus flower” would go on to represent the stereotype of a disposable female Asian love interest. Another stereotype, “the dragon lady,” also stemmed from one of Wong’s most prominent roles, 1931’s “Daughter of the Dragon.”\u003c/p>\n\u003cp>“The idea of the ‘lotus blossom,’ the very meek yet still sexualized Asian woman, alongside the ‘dragon lady,’ the kind of very barbarous and villainous kind of seductress — that was pretty much started by Anna May Wong,’” said Nancy Wang Yuen, sociologist and author of the book “Reel Inequality: Hollywood Actors and Racism.”\u003c/p>\n\u003cp>“Because of her unique status as one of the first and only ethnically Chinese actresses to play Chinese characters,” Yuen said, “she personified these stereotypes though she was bothered by them.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A-vOqYC1-hg&ab_channel=ShockFilm\u003c/p>\n\u003cp>Wong was also vocal about her frustrations with Hollywood. \u003ca href=\"https://www.latimes.com/archives/la-xpm-1987-07-12-ca-3279-story.html\">\u003cspan style=\"font-weight: 400\">Constantly cast as a villain or an ill-fated love interest who would die before the end of the film\u003c/span>\u003c/a>, she worked against these limitations. In 1924, she started her own production company, Anna May Wong Productions, but it succumbed to financial woes.\u003c/p>\n\u003cp>“I was so tired of the parts I had to play,” she said in an interview with Film Weekly. “Why is it that the screen Chinese is nearly always the villain of the piece, and so cruel a villain — murderous, treacherous, a snake in the grass. We are not like that.”\u003c/p>\n\u003cp>In 1928, Wong went to Europe and starred in English, French and German roles on film and stage, playing the title role in a German operetta and impressing reviewers with her command of the language.\u003c/p>\n\u003cfigure id=\"attachment_11925838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-515607792-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11925838\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-515607792-800x1134.jpg\" alt=\"A black-and-white photo of a Chinese-American woman standing in front of a hotel wall in Paris in 1935. She's wearing a narrow skirt with kick-pleats, a belted jacket, a cloche hat, and tasseled shoes with heels. She's holding a clutch bag and smiling with delight.\" width=\"800\" height=\"1134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-800x1134.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1020x1446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1084x1536.jpg 1084w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1445x2048.jpg 1445w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1920x2721.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-scaled.jpg 1806w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anna May Wong, popular Chinese American film star, pictured in front of the Hôtel de Crillon in Paris, shortly after her arrival at the French capital in 1935. \u003ccite>(Bettmann Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She said publicly that she left America because she died so often,” Yuen said. “And so she went to Europe because there she was able to star in films where she didn’t die.”\u003c/p>\n\u003cp>Wong maintained her ties to the U.S., and starred in Broadway productions between films. Her disappointment with Hollywood came to a head in 1936 when MGM passed over her for the Chinese lead role in the film adaptation of Pearl S. Buck’s “The Good Earth.” The studio cast German actress Luise Rainer instead and offered Wong the role of the villain.\u003c/p>\n\u003cp>She rejected the role and is quoted as saying, \u003ca href=\"https://www.latimes.com/archives/la-xpm-1987-07-12-ca-3279-story.html\">“You’re asking me — with Chinese blood — to do the only unsympathetic role in the picture, featuring an all-American cast portraying Chinese characters?”\u003c/a>\u003c/p>\n\u003cp>Wong decided to visit China for the first time, creating a documentary of her travels entitled “My China Film.” In the film, she visits her father at their ancestral home and is surrounded by crowds of people who seem thrilled to be in her company. “We go to the village and people are curious and come from miles around to see what a movie star looks like,” she says in the film.\u003c/p>\n\u003cp>“She became an independent filmmaker and a memoirist of her own life,” said Yuen. “All this is pretty revolutionary.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9mDJDt2vD7w\u003c/p>\n\u003cp>In recent years, AAPI actors have made significant strides in Hollywood, but there remains a long way to go. Asian women especially are still vastly underrepresented as leads.\u003c/p>\n\u003cp>Yuen found this in her research analyzing the top films from 2007 to 2019. “In the top 100 films, there were only six leads or co-leads that were played by Asian women,” she says.\u003c/p>\n\u003cp>Still, the success of actresses like Gemma Chan, who will play Wong in an upcoming biopic and who recently played a superhero in Marvel’s “Eternals,” is a reminder of the trailblazing impact of Anna May Wong.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think Anna May Wong would be very proud to see an Asian woman superhero, because I am sure that she would love to play one,” said Yuen. “She saw herself that way, as able to play anything.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture this: It’s the 1910s in Los Angeles, and the motion picture industry has just relocated from New York to its new home: Hollywood. A young Chinese American girl, enamored by the glitz and glamor of the big screen, starts skipping school to sneak onto film sets.\u003c/p>\n\u003cp>It’s been said that movie executives, upon noticing her, gave her the alliterative nickname “the curious Chinese child.” While still young, she came up with another name for herself — Anna May Wong — and she would go on to become Hollywood’s first Chinese American film star.\u003c/p>\n\u003cp>Wong fought the ever-present obstacle of institutional racism in the film industry to forge a remarkable career that spanned 40 years. She contended with limited lead roles, stereotypical casting and vast pay inequities between her and her white counterparts.\u003c/p>\n\u003cp>While Wong was often relegated to clichéd roles in Hollywood, she also broke innumerable barriers for Asian American actors at the time, due to the longevity of her career. She would go on to appear in over 60 films throughout her life, and her career successfully weathered the transition from silent films to “talkies.”\u003c/p>\n\u003cfigure id=\"attachment_11925840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-3205581-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11925840\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-3205581-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-1536x1094.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-2048x1459.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-1920x1368.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anna May Wong poses with a cut rose. \u003ccite>(General Photographic Agency/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sixty years after her death, Wong’s legacy lives on in film and fashion — her iconic looks helped popularize the flapper style of the 1920s. Now her contributions will be honored by one of the most quintessentially American symbols: the quarter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This fall, the U.S. Mint is paying tribute to Anna May Wong by releasing a coin with her image. She’s one of five American women being recognized posthumously with the honor. Already released are \u003ca href=\"https://www.littletoncoin.com/shop/US-Women-Quarters-Release-Schedule?gclid=Cj0KCQjw94WZBhDtARIsAKxWG-_6m3TmVuY-4iP6NOvdrWRNMaXAWogQP4RLZepHADuMnsjf9exmZJcaAoPhEALw_wcB\">\u003cspan style=\"font-weight: 400\">quarters honoring author Maya Angelou, astronaut Sally Ride, Cherokee Chief Wilma Mankiller and suffragette and author Nina Otero-Warren\u003c/span>\u003c/a>.\u003c/p>\n\u003cp>Anna May Wong was born Wong Liu Tsong in Chinatown, Los Angeles, in 1905. A third-generation Chinese American, she grew up helping out at her father’s laundromat on North Figueroa Street. In 1922 she appeared in one of the first Technicolor films, “The Toll of the Sea,” a silent film in which she played a character named Lotus Flower who falls in love with an American man only to be abandoned by him. At the end of the film, Lotus Flower takes her own life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘Why is it that the screen Chinese is nearly always the villain of the piece, and so cruel a villain\u003cspan style=\"font-weight: 400\"> — \u003c/span>murderous, treacherous, a snake in the grass. We are not like that.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The term “lotus flower” would go on to represent the stereotype of a disposable female Asian love interest. Another stereotype, “the dragon lady,” also stemmed from one of Wong’s most prominent roles, 1931’s “Daughter of the Dragon.”\u003c/p>\n\u003cp>“The idea of the ‘lotus blossom,’ the very meek yet still sexualized Asian woman, alongside the ‘dragon lady,’ the kind of very barbarous and villainous kind of seductress — that was pretty much started by Anna May Wong,’” said Nancy Wang Yuen, sociologist and author of the book “Reel Inequality: Hollywood Actors and Racism.”\u003c/p>\n\u003cp>“Because of her unique status as one of the first and only ethnically Chinese actresses to play Chinese characters,” Yuen said, “she personified these stereotypes though she was bothered by them.”\u003c/p>\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/A-vOqYC1-hg'\n title='//www.youtube.com/embed/A-vOqYC1-hg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wong was also vocal about her frustrations with Hollywood. \u003ca href=\"https://www.latimes.com/archives/la-xpm-1987-07-12-ca-3279-story.html\">\u003cspan style=\"font-weight: 400\">Constantly cast as a villain or an ill-fated love interest who would die before the end of the film\u003c/span>\u003c/a>, she worked against these limitations. In 1924, she started her own production company, Anna May Wong Productions, but it succumbed to financial woes.\u003c/p>\n\u003cp>“I was so tired of the parts I had to play,” she said in an interview with Film Weekly. “Why is it that the screen Chinese is nearly always the villain of the piece, and so cruel a villain — murderous, treacherous, a snake in the grass. We are not like that.”\u003c/p>\n\u003cp>In 1928, Wong went to Europe and starred in English, French and German roles on film and stage, playing the title role in a German operetta and impressing reviewers with her command of the language.\u003c/p>\n\u003cfigure id=\"attachment_11925838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-515607792-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11925838\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-515607792-800x1134.jpg\" alt=\"A black-and-white photo of a Chinese-American woman standing in front of a hotel wall in Paris in 1935. She's wearing a narrow skirt with kick-pleats, a belted jacket, a cloche hat, and tasseled shoes with heels. She's holding a clutch bag and smiling with delight.\" width=\"800\" height=\"1134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-800x1134.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1020x1446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1084x1536.jpg 1084w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1445x2048.jpg 1445w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1920x2721.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-scaled.jpg 1806w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anna May Wong, popular Chinese American film star, pictured in front of the Hôtel de Crillon in Paris, shortly after her arrival at the French capital in 1935. \u003ccite>(Bettmann Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She said publicly that she left America because she died so often,” Yuen said. “And so she went to Europe because there she was able to star in films where she didn’t die.”\u003c/p>\n\u003cp>Wong maintained her ties to the U.S., and starred in Broadway productions between films. Her disappointment with Hollywood came to a head in 1936 when MGM passed over her for the Chinese lead role in the film adaptation of Pearl S. Buck’s “The Good Earth.” The studio cast German actress Luise Rainer instead and offered Wong the role of the villain.\u003c/p>\n\u003cp>She rejected the role and is quoted as saying, \u003ca href=\"https://www.latimes.com/archives/la-xpm-1987-07-12-ca-3279-story.html\">“You’re asking me — with Chinese blood — to do the only unsympathetic role in the picture, featuring an all-American cast portraying Chinese characters?”\u003c/a>\u003c/p>\n\u003cp>Wong decided to visit China for the first time, creating a documentary of her travels entitled “My China Film.” In the film, she visits her father at their ancestral home and is surrounded by crowds of people who seem thrilled to be in her company. “We go to the village and people are curious and come from miles around to see what a movie star looks like,” she says in the film.\u003c/p>\n\u003cp>“She became an independent filmmaker and a memoirist of her own life,” said Yuen. “All this is pretty revolutionary.”\u003c/p>\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/9mDJDt2vD7w'\n title='//www.youtube.com/embed/9mDJDt2vD7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, AAPI actors have made significant strides in Hollywood, but there remains a long way to go. Asian women especially are still vastly underrepresented as leads.\u003c/p>\n\u003cp>Yuen found this in her research analyzing the top films from 2007 to 2019. “In the top 100 films, there were only six leads or co-leads that were played by Asian women,” she says.\u003c/p>\n\u003cp>Still, the success of actresses like Gemma Chan, who will play Wong in an upcoming biopic and who recently played a superhero in Marvel’s “Eternals,” is a reminder of the trailblazing impact of Anna May Wong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Jennifer Siebel Newsom\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">We talk with California’s first partner and documentary filmmaker Jennifer Siebel Newsom, whose latest film, “Fair Play,” examines the division of labor in the home. We’ll talk about her work, her life and how she and her husband, Gov. Gavin Newsom, handle the chores in their household.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Something Beautiful: Crissy Field\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">We visit one of Newsom’s favorite places in the Bay Area; Crissy Field was a former military airfield that has been converted since 2001 into a national park. Today you’ll find people picnicking and walking dogs at the beach with scenic views of the Bay and the Golden Gate Bridge.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"disqusTitle": "How to Get Free Museum Entry This Saturday Sept. 17",
"title": "How to Get Free Museum Entry This Saturday Sept. 17",
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"content": "\u003cp>The \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=\">Smithsonian Magazine’s annual Museum Day is happening this Saturday, September 17\u003c/a>.\u003c/p>\n\u003cp>This means that you can get free entry to hundreds of participating museums across the country — including many in the Bay Area and beyond.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Jump straight to: \u003ca href=\"#museumsnearme\">Which museums near me are participating in Museum Day?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Want to get free entry to a museum near you? All you need to do is \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=&states=US::CA&\">download a Museum Day ticket for the museum you want to visit\u003c/a> from the Museum Day website, and present it to the participating museum on Saturday.\u003c/p>\n\u003cp>Be aware that you can download one ticket for two people, per email address — but you can only download one ticket to one museum for Museum Day, and once you select \"generate ticket,\" you won't be able to change your museum selection. The Smithsonian Magazine says that the offer is for United States residents only. Be aware that some museums may already have sold out of free Museum Day tickets.\u003c/p>\n\u003cp>For folks in the wider Bay Area looking to visit a museum for free this Saturday, keep reading for our list of just some of the participating museums. You can also see a full list of \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=&states=US::CA&\">every museum in California that's participating in Museum Day\u003c/a>.\u003c/p>\n\u003cp>And if you miss out on Museum Day this year, remember: You can still get free or low-cost entry to many museums all year round if you use an EBT card. \u003ca href=\"https://www.kqed.org/news/11915329/how-to-get-free-or-low-cost-museum-entry-this-summer-with-your-ebt-card\">Read more about how to get reduced-cost museum tickets if you use CalFresh.\u003c/a>\u003c/p>\n\u003ch3>\u003ca id=\"museumsnearme\">\u003c/a>San Francisco\u003c/h3>\n\u003ch2>Museum of Craft and Design\u003c/h2>\n\u003cp>Entrance to the \u003ca href=\"https://sfmcd.org/\">Museum of Craft and Design\u003c/a>, open every day except Mondays and Tuesdays, in San Francisco is usually $10 for general admission. The museum offers free admission to members, children under 12, and active-duty military personnel (including National Guard). With the Museum Day ticket, you and another guest can get in for free this Saturday. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/museum-of-craft-and-design/tickets/\">Download your Museum Day ticket to the Museum of Craft and Design here.\u003c/a>[aside postID=news_11915329 hero='https://ww2.kqed.org/app/uploads/sites/10/2022/05/RS47523_009_SanFrancisco_SkyStarWheel_03042021-qut-672x372.jpg']\u003c/p>\n\u003ch2>American Bookbinders Museum\u003c/h2>\n\u003cp>The \u003ca href=\"https://bookbindersmuseum.org/visit/\">American Bookbinders Museum\u003c/a> is regularly open Tuesday through Saturday, and entry is normally $15 for adults, $12 for seniors (62+) and youths (10-17), with children under 10 entering for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/american-bookbinders-museum/tickets/\">Download your free Museum Day ticket for two for the American Bookbinders Museum.\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-11925896\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-scaled.jpg\" alt=\"An image of a multicolored museum sign on a grassy surface during the day.\" width=\"2560\" height=\"1707\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-2048x1365.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003ch3>South Bay\u003c/h3>\n\u003ch2>San José Museum of Art\u003c/h2>\n\u003cp>General admission to the \u003ca href=\"https://sjmusart.org/visit\">San José Museum of Art\u003c/a> is $10 and free for members, teachers, college students, and youth and children. They’re open from Thursday through Saturday and are located on South Market Street in San José. \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/san-jose-museum-of-art/\">Download your free Museum Day ticket to visit the San José Museum of Art this Saturday. \u003c/a>\u003c/p>\n\u003ch2>New Museum Los Gatos\u003c/h2>\n\u003cp>If you’re looking for another museum to visit for free in the South Bay this Saturday, check out the \u003ca href=\"https://www.numulosgatos.org/\">New Museum Los Gatos\u003c/a>. General admission is $10 and free for Los Gatos residents, youth under 18 years old, active-duty military personnel, and more. If you don’t fall within these categories, you can enjoy a free visit this Saturday through the \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/new-museum-los-gatos/\">Museum Day ticket for the New Museum Los Gatos, which can be downloaded here.\u003c/a>\u003c/p>\n\u003ch3>North Bay\u003c/h3>\n\u003ch2>The di Rosa Center for Contemporary Art\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.dirosaart.org/\">di Rosa Center for Contemporary Art\u003c/a> is located on 217 acres nestled between Napa and Sonoma. So if you happen to be in the area, why not try visiting a museum? General admission is usually $20, but this Saturday, you can visit for free. \u003ca href=\"https://dirosaart.secure.force.com/ticket/?#/events/calendar\">Head over to di Rosa's website to get a free ticket\u003c/a>, or \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/di-rosa-center-for-contemporary-art-8WB/\">download a ticket to di Rosa directly from the Smithsonian Magazine website\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>Sacramento\u003c/h3>\n\u003ch2>California Automobile Museum\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.calautomuseum.org/\">California Automobile Museum\u003c/a> in Sacramento has over 130 vehicles in its exhibits, and they’re open Wednesday through Monday. General admission is $10 and children under 5 can get in for free. This Saturday, you and another guest can use the Museum Day ticket to enter for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/california-automobile-museum-54U/\">Download your ticket to the California Automobile Museum here.\u003c/a>\u003c/p>\n\u003ch2>California State Railroad Museum\u003c/h2>\n\u003cp>Learn the history of the California railways at the California State Railroad Museum in Sacramento. General admission tickets are usually $12 and free for children under 5 and members of the museum. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/california-state-railroad-museum/tickets/\">Download a Museum Day ticket and enjoy free admission for you and a guest to the California State Railroad Museum this Saturday.\u003c/a>\u003c/p>\n\u003ch2>Sacramento History Museum\u003c/h2>\n\u003cp>The \u003ca href=\"http://sachistorymuseum.org/visit/\">Sacramento History Museum\u003c/a> is located near the beautiful Sacramento River, and near the California State Railroad Museum. The museum is open seven days a week. General admission is $10, and children 5 and below can enter for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/sacramento-history-museum/tickets/\">Download your free Museum Day ticket for free entrance to the Sacramento History Museum this Saturday.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The Smithsonian Magazine's annual Museum Day is happening this Saturday, September 17, which means you can get free entry to hundreds of participating museums across the country.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=\">Smithsonian Magazine’s annual Museum Day is happening this Saturday, September 17\u003c/a>.\u003c/p>\n\u003cp>This means that you can get free entry to hundreds of participating museums across the country — including many in the Bay Area and beyond.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Jump straight to: \u003ca href=\"#museumsnearme\">Which museums near me are participating in Museum Day?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Want to get free entry to a museum near you? All you need to do is \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=&states=US::CA&\">download a Museum Day ticket for the museum you want to visit\u003c/a> from the Museum Day website, and present it to the participating museum on Saturday.\u003c/p>\n\u003cp>Be aware that you can download one ticket for two people, per email address — but you can only download one ticket to one museum for Museum Day, and once you select \"generate ticket,\" you won't be able to change your museum selection. The Smithsonian Magazine says that the offer is for United States residents only. Be aware that some museums may already have sold out of free Museum Day tickets.\u003c/p>\n\u003cp>For folks in the wider Bay Area looking to visit a museum for free this Saturday, keep reading for our list of just some of the participating museums. You can also see a full list of \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=&states=US::CA&\">every museum in California that's participating in Museum Day\u003c/a>.\u003c/p>\n\u003cp>And if you miss out on Museum Day this year, remember: You can still get free or low-cost entry to many museums all year round if you use an EBT card. \u003ca href=\"https://www.kqed.org/news/11915329/how-to-get-free-or-low-cost-museum-entry-this-summer-with-your-ebt-card\">Read more about how to get reduced-cost museum tickets if you use CalFresh.\u003c/a>\u003c/p>\n\u003ch3>\u003ca id=\"museumsnearme\">\u003c/a>San Francisco\u003c/h3>\n\u003ch2>Museum of Craft and Design\u003c/h2>\n\u003cp>Entrance to the \u003ca href=\"https://sfmcd.org/\">Museum of Craft and Design\u003c/a>, open every day except Mondays and Tuesdays, in San Francisco is usually $10 for general admission. The museum offers free admission to members, children under 12, and active-duty military personnel (including National Guard). With the Museum Day ticket, you and another guest can get in for free this Saturday. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/museum-of-craft-and-design/tickets/\">Download your Museum Day ticket to the Museum of Craft and Design here.\u003c/a>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>American Bookbinders Museum\u003c/h2>\n\u003cp>The \u003ca href=\"https://bookbindersmuseum.org/visit/\">American Bookbinders Museum\u003c/a> is regularly open Tuesday through Saturday, and entry is normally $15 for adults, $12 for seniors (62+) and youths (10-17), with children under 10 entering for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/american-bookbinders-museum/tickets/\">Download your free Museum Day ticket for two for the American Bookbinders Museum.\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-11925896\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-scaled.jpg\" alt=\"An image of a multicolored museum sign on a grassy surface during the day.\" width=\"2560\" height=\"1707\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-2048x1365.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003ch3>South Bay\u003c/h3>\n\u003ch2>San José Museum of Art\u003c/h2>\n\u003cp>General admission to the \u003ca href=\"https://sjmusart.org/visit\">San José Museum of Art\u003c/a> is $10 and free for members, teachers, college students, and youth and children. They’re open from Thursday through Saturday and are located on South Market Street in San José. \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/san-jose-museum-of-art/\">Download your free Museum Day ticket to visit the San José Museum of Art this Saturday. \u003c/a>\u003c/p>\n\u003ch2>New Museum Los Gatos\u003c/h2>\n\u003cp>If you’re looking for another museum to visit for free in the South Bay this Saturday, check out the \u003ca href=\"https://www.numulosgatos.org/\">New Museum Los Gatos\u003c/a>. General admission is $10 and free for Los Gatos residents, youth under 18 years old, active-duty military personnel, and more. If you don’t fall within these categories, you can enjoy a free visit this Saturday through the \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/new-museum-los-gatos/\">Museum Day ticket for the New Museum Los Gatos, which can be downloaded here.\u003c/a>\u003c/p>\n\u003ch3>North Bay\u003c/h3>\n\u003ch2>The di Rosa Center for Contemporary Art\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.dirosaart.org/\">di Rosa Center for Contemporary Art\u003c/a> is located on 217 acres nestled between Napa and Sonoma. So if you happen to be in the area, why not try visiting a museum? General admission is usually $20, but this Saturday, you can visit for free. \u003ca href=\"https://dirosaart.secure.force.com/ticket/?#/events/calendar\">Head over to di Rosa's website to get a free ticket\u003c/a>, or \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/di-rosa-center-for-contemporary-art-8WB/\">download a ticket to di Rosa directly from the Smithsonian Magazine website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>Sacramento\u003c/h3>\n\u003ch2>California Automobile Museum\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.calautomuseum.org/\">California Automobile Museum\u003c/a> in Sacramento has over 130 vehicles in its exhibits, and they’re open Wednesday through Monday. General admission is $10 and children under 5 can get in for free. This Saturday, you and another guest can use the Museum Day ticket to enter for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/california-automobile-museum-54U/\">Download your ticket to the California Automobile Museum here.\u003c/a>\u003c/p>\n\u003ch2>California State Railroad Museum\u003c/h2>\n\u003cp>Learn the history of the California railways at the California State Railroad Museum in Sacramento. General admission tickets are usually $12 and free for children under 5 and members of the museum. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/california-state-railroad-museum/tickets/\">Download a Museum Day ticket and enjoy free admission for you and a guest to the California State Railroad Museum this Saturday.\u003c/a>\u003c/p>\n\u003ch2>Sacramento History Museum\u003c/h2>\n\u003cp>The \u003ca href=\"http://sachistorymuseum.org/visit/\">Sacramento History Museum\u003c/a> is located near the beautiful Sacramento River, and near the California State Railroad Museum. The museum is open seven days a week. General admission is $10, and children 5 and below can enter for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/sacramento-history-museum/tickets/\">Download your free Museum Day ticket for free entrance to the Sacramento History Museum this Saturday.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"disqusTitle": "US Poet Laureate and Sonoma Writer Ada Limón on Writing",
"title": "US Poet Laureate and Sonoma Writer Ada Limón on Writing",
"headTitle": "KQED News",
"content": "\u003cp>As the 24th poet laureate of the United States, Ada Limón is an ambassador to the world of beautiful words. Her poems use clear, everyday language. But they have as much literary heft as they do accessibility. Limón has written a half dozen books of poetry, and her most recent work is \"\u003ca href=\"https://www.npr.org/2022/05/09/1096005629/ada-limon-hurting-kind-review-poetry\" target=\"_blank\" rel=\"noopener noreferrer\">The Hurting Kind\u003c/a>.\" She's also the winner of the National Book Critics Circle Award for poetry and many other accolades.\u003c/p>\n\u003cp>Limón was born in Sonoma County, and now lives among the hills and horses of Kentucky. \u003ca href=\"https://www.kqed.org/forum/2010101890341/u-s-poet-laureate-ada-limon-on-elevating-and-promoting-poetry-when-america-needs-healing\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Forum host Alexis Madrigal spoke with Limón\u003c/a> about her new post as poet laureate and how to read a poem.\u003c/p>\n\u003cp>\u003cem>The following excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>ALEXIS MADRIGAL: In a 2008 essay, you were living in New York and pondering regional poetry and asking if you were, in fact, a poet of Sonoma. And then you said, \"I think I would claim myself a California poet. This definition is too tight, and it smells like old wine.\" Do you see yourself now as a Sonoma poet? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ADA LIMÓN:\u003c/strong> To be honest, I think that the place I feel the most at home is in Sonoma. It does feel like a place where I deeply belong. But I also feel like there is a part of me that now that I've lived so many different places ... I do feel like there's this sort of sense that I belong to America. I think the landscape of the United States is something that I really feel connected to. And now that I've lived so many places in it, I feel like I can speak to that. But, Sonoma definitely still feels like home.\u003c/p>\n\u003cp>\u003cstrong>Do you feel coming from these different places, living in these different places, that contrasts stick out more?\u003c/strong>\u003c/p>\n\u003cp>I think that one of the things that I really love about being in different places, even just traveling, is that idea of getting to know the natural elements in each place. When I first arrived in Kentucky, I was really hoping to move back to California permanently, and then I fell madly in love and married my husband and I live in Kentucky and have learned to just love it.\u003c/p>\n\u003cp>But I think the way that I know to love something, or how I can figure that out, is to explore the natural landscape around me. A lot of the poems in the book are about me really figuring out the landscape around me and looking at the old barns and the incredible horse pastures everywhere. That was important to me to figure out — how to love a place, to name the plants and animals, that I'm surrounded by.\u003c/p>\n\u003cp>\u003cstrong>Let's have you read \"\u003ca href=\"https://www.oprahdaily.com/entertainment/books/a39654803/ada-limon-hurting-kind-poem-video/\" target=\"_blank\" rel=\"noopener noreferrer\">A Good Story\u003c/a>.\" This is from your most recent collection.\u003c/strong>\u003c/p>\n\u003cp>It's a poem that began for me at a place where I feel like there were so many poems that were dealing with trauma. And I think it's incredibly important that we write and read poems that are hard and that deal with the hard things. But I also really wanted to write about tenderness and be grateful for those moments that tenderness was offered to me. This is where that poem came from.\u003c/p>\n\u003cp>\u003cstrong>It made me think of a time my sister's ex-husband silently made me a bowl of macaroni and cheese, while I cried on my sister's lap. What is the literary infrastructure that makes that pack such a punch?\u003c/strong>\u003c/p>\n\u003cp>Thank you for that. The poem is in couplets and there are actually long lines in the poem that sort of allow for it to move a little faster.\u003c/p>\n\u003cp>The line length of a poem really determines the rhythm and speed of how the poem is read. A shorter line is going to be much slower if you think sort of Emily Dickinson, that's going to read much slower because it's got the breath in it.\u003c/p>\n\u003cp>That slight pause after the line break is going to make you read it slower and then a longer line is going to read a little faster.\u003c/p>\n\u003cp>You can think of Whitman and then sort of the mid-length line is more for conversation. You can think of Shakespeare. It's meant to be read a little fast, but then at the same time it's in couplets. So you're going to break after each of those couplets, which gives you that little moment of pause.\u003c/p>\n\u003cp>It has that sort of rhythm that goes back and forth.\u003c/p>\n\u003cp>The last line is then on its own, which kind of allows for it to stand out a little bit.\u003c/p>\n\u003cp>The other part of this poem is that it's dealing with time.\u003c/p>\n\u003cp>I had a student ask me, \"How is it that you can go from the present moment into the past or into the future so easily in your poems?\" And I said, well, this is going to sound weird, but I think time doesn't exist. I say my stepfather told me a story. And then he does this thing. But at the same time, it does feel like it's happening in the present moment because it begins with a hard day. And what does the hard day require? The hard day requires a good story and sometimes that good story isn't something that's happening now. But maybe it's a memory like you were talking about. The person that fed you macaroni and cheese.\u003cbr>\n[pullquote size=\"medium\" align=\"right\" citation=\"Ada Limón, 24th US poet laureate\"]'There's a real danger in living without feeling and swallowing everything to become sort of courageous and resilient ... sometimes I think we also need to be a mess.'[/pullquote]\u003c/p>\n\u003cp>\u003cstrong>We praise people so much for courage and bravery and strength and sometimes not for tenderness. In \"The Hurting Kind,\" how do you think about celebrating the ability to hold grief or the ability to hurt? How does one actually do that?\u003c/strong>\u003c/p>\n\u003cp>I've been thinking about this a lot, and I feel like oftentimes when we come to a poem, it's not even so much that we have to feel a certain thing, right? You don't have to feel exactly what I want you to feel after a poem I've read or a poem I've given you by somebody else.\u003c/p>\n\u003cp>Maybe the important thing is just that you feel period.\u003c/p>\n\u003cp>And maybe that is something that we need to tap into, because I know for me, this is true. We've just become so numb to so much because there's just so much chaos and crisis in the world that it feels like every one of us is being shoved from one emergency to the next.\u003c/p>\n\u003cp>We have to compartmentalize, and of course, we have to go numb a little bit. But I think that there is a real danger in that. There's a real danger in living without feeling and swallowing everything to become sort of courageous and resilient. And listen, I love the word \"resilience\" and I want to be resilient. But sometimes I think we also need to be a mess.[pullquote size=\"medium\" align=\"left\" citation=\"Ada Limón, 24th US poet laureate\"]'There is power in that moment when you break down, that moment when you feel all the feelings and it feels like too much.'[/pullquote]We need to feel and maybe have someone give us macaroni and cheese while we cry. I think those are really important moments. It's what makes us human. It also is what makes us able to find strength.\u003c/p>\n\u003cp>There is power in that moment when you break down, that moment when you feel all the feelings and it feels like too much. That's important because that's where we get the courage to go on, and maybe pursue the action that we need to see in the world. But I do think we need to make space for breathing, for falling apart, for crying. And for grieving those that we lost, because we just, we move on so quickly.\u003c/p>\n\u003cp>We're asked to move on so quickly. And I think sometimes we aren't supposed to.\u003c/p>\n\u003cp>\u003cstrong>It feels like the river you grew up by, the creek you grew up by in Sonoma, it raised you in some way, thinking about the poem you wrote about the raccoon decomposing in the water with its little hand eventually turning to bone.\u003c/strong>\u003c/p>\n\u003cp>That's the Calabazas Creek. That creek is really important to me. Someone asked me one time where my poems come from and that creek was my first thought: \"It's the Calabazas Creek.\" There's something about that area.\u003c/p>\n\u003cp>Sometimes with poetry, we're looking for the voice under the voice. It's not just the voice, but the thing underneath it. And that creek was underneath our life. The cars were going from the job and school and all of that. You could feel the rush. But there it was quiet. It was small. There were the little crawdads and little minnows. And there was all of this life happening. But it was like a secret life. And I think oftentimes my poems begin there.\u003c/p>\n\u003cp>\u003cstrong>In this new role as poet laureate, do you feel like you have to perform yourself and perform yourself in certain ways? How do you feel about being the first Latina poet laureate?\u003c/strong>\u003c/p>\n\u003cp>That's a great question. It's easy to feel that way, and I think that people will ask that of me. But I really hope I stay true to me and who I am as an authentic human being, full of complex emotions and identities and desires and needs and poems. If I want to perform anything, it's a poem and it's not an identity.\u003c/p>\n\u003cp>\u003cstrong>Through your life you've had a few different physical conditions that have conditioned you to think about pain in certain ways. How has that infused into your identity, to have been dealing with that since you were a child?\u003c/strong>\u003c/p>\n\u003cp>I have pretty intense scoliosis. And so, in fact, I just had an adjustment yesterday and I deal with it all the time. It is something that causes me quite a bit of pain. And I think a lot about mobility issues.\u003c/p>\n\u003cp>I'm trying to avoid some of the phrasing that makes me really uncomfortable. People will say, \"Oh, you were in chronic pain.\" And I'm like, the only problem with the word \"chronic pain\" is that I would like to leave space for it not to be chronic. I'd also like to leave space for maybe someday it will all magically disappear. I think a lot about language, and the language of the body, but also that sometimes when you practice meditation, which I do, a lot of the wonderful teachers and guides will say, \"Now return to the body.\" And I often think — what if the body is really not a happy place right now?[aside tag=\"poetry, writing\" label=\"More Related Stories\"]Sometimes the most free I feel is when I'm in the mind, and not in the body. That's an interesting thing for me to explore in my own writing.\u003c/p>\n\u003cp>\u003cstrong>I do love that in your poems, your garden is growing and changing. That has been a real salve for you — the world may have issues, but on your plot of land, things are beautiful and green.\u003c/strong>\u003c/p>\n\u003cp>Finding some refuge in the natural world is really essential to remembering that I am part of nature as well, and that even my own mortality is linked to the natural world and the cycles of things. It feels to me like nature is one of our greatest teachers, and if you're paying attention, you get all of those incredible lessons right there up front. I'm always trying to figure out my purpose, what is the point to all of the big questions that artists and human beings have been asking since the dawn of time? And I think sometimes the answers are there, just watching the natural world. And that answer is that cycle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "KQED Forum host Alexis Madrigal sat down with Ada Limón to talk poetry, writing and her most recent book, 'The Hurting Kind.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the 24th poet laureate of the United States, Ada Limón is an ambassador to the world of beautiful words. Her poems use clear, everyday language. But they have as much literary heft as they do accessibility. Limón has written a half dozen books of poetry, and her most recent work is \"\u003ca href=\"https://www.npr.org/2022/05/09/1096005629/ada-limon-hurting-kind-review-poetry\" target=\"_blank\" rel=\"noopener noreferrer\">The Hurting Kind\u003c/a>.\" She's also the winner of the National Book Critics Circle Award for poetry and many other accolades.\u003c/p>\n\u003cp>Limón was born in Sonoma County, and now lives among the hills and horses of Kentucky. \u003ca href=\"https://www.kqed.org/forum/2010101890341/u-s-poet-laureate-ada-limon-on-elevating-and-promoting-poetry-when-america-needs-healing\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Forum host Alexis Madrigal spoke with Limón\u003c/a> about her new post as poet laureate and how to read a poem.\u003c/p>\n\u003cp>\u003cem>The following excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>ALEXIS MADRIGAL: In a 2008 essay, you were living in New York and pondering regional poetry and asking if you were, in fact, a poet of Sonoma. And then you said, \"I think I would claim myself a California poet. This definition is too tight, and it smells like old wine.\" Do you see yourself now as a Sonoma poet? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ADA LIMÓN:\u003c/strong> To be honest, I think that the place I feel the most at home is in Sonoma. It does feel like a place where I deeply belong. But I also feel like there is a part of me that now that I've lived so many different places ... I do feel like there's this sort of sense that I belong to America. I think the landscape of the United States is something that I really feel connected to. And now that I've lived so many places in it, I feel like I can speak to that. But, Sonoma definitely still feels like home.\u003c/p>\n\u003cp>\u003cstrong>Do you feel coming from these different places, living in these different places, that contrasts stick out more?\u003c/strong>\u003c/p>\n\u003cp>I think that one of the things that I really love about being in different places, even just traveling, is that idea of getting to know the natural elements in each place. When I first arrived in Kentucky, I was really hoping to move back to California permanently, and then I fell madly in love and married my husband and I live in Kentucky and have learned to just love it.\u003c/p>\n\u003cp>But I think the way that I know to love something, or how I can figure that out, is to explore the natural landscape around me. A lot of the poems in the book are about me really figuring out the landscape around me and looking at the old barns and the incredible horse pastures everywhere. That was important to me to figure out — how to love a place, to name the plants and animals, that I'm surrounded by.\u003c/p>\n\u003cp>\u003cstrong>Let's have you read \"\u003ca href=\"https://www.oprahdaily.com/entertainment/books/a39654803/ada-limon-hurting-kind-poem-video/\" target=\"_blank\" rel=\"noopener noreferrer\">A Good Story\u003c/a>.\" This is from your most recent collection.\u003c/strong>\u003c/p>\n\u003cp>It's a poem that began for me at a place where I feel like there were so many poems that were dealing with trauma. And I think it's incredibly important that we write and read poems that are hard and that deal with the hard things. But I also really wanted to write about tenderness and be grateful for those moments that tenderness was offered to me. This is where that poem came from.\u003c/p>\n\u003cp>\u003cstrong>It made me think of a time my sister's ex-husband silently made me a bowl of macaroni and cheese, while I cried on my sister's lap. What is the literary infrastructure that makes that pack such a punch?\u003c/strong>\u003c/p>\n\u003cp>Thank you for that. The poem is in couplets and there are actually long lines in the poem that sort of allow for it to move a little faster.\u003c/p>\n\u003cp>The line length of a poem really determines the rhythm and speed of how the poem is read. A shorter line is going to be much slower if you think sort of Emily Dickinson, that's going to read much slower because it's got the breath in it.\u003c/p>\n\u003cp>That slight pause after the line break is going to make you read it slower and then a longer line is going to read a little faster.\u003c/p>\n\u003cp>You can think of Whitman and then sort of the mid-length line is more for conversation. You can think of Shakespeare. It's meant to be read a little fast, but then at the same time it's in couplets. So you're going to break after each of those couplets, which gives you that little moment of pause.\u003c/p>\n\u003cp>It has that sort of rhythm that goes back and forth.\u003c/p>\n\u003cp>The last line is then on its own, which kind of allows for it to stand out a little bit.\u003c/p>\n\u003cp>The other part of this poem is that it's dealing with time.\u003c/p>\n\u003cp>I had a student ask me, \"How is it that you can go from the present moment into the past or into the future so easily in your poems?\" And I said, well, this is going to sound weird, but I think time doesn't exist. I say my stepfather told me a story. And then he does this thing. But at the same time, it does feel like it's happening in the present moment because it begins with a hard day. And what does the hard day require? The hard day requires a good story and sometimes that good story isn't something that's happening now. But maybe it's a memory like you were talking about. The person that fed you macaroni and cheese.\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>We praise people so much for courage and bravery and strength and sometimes not for tenderness. In \"The Hurting Kind,\" how do you think about celebrating the ability to hold grief or the ability to hurt? How does one actually do that?\u003c/strong>\u003c/p>\n\u003cp>I've been thinking about this a lot, and I feel like oftentimes when we come to a poem, it's not even so much that we have to feel a certain thing, right? You don't have to feel exactly what I want you to feel after a poem I've read or a poem I've given you by somebody else.\u003c/p>\n\u003cp>Maybe the important thing is just that you feel period.\u003c/p>\n\u003cp>And maybe that is something that we need to tap into, because I know for me, this is true. We've just become so numb to so much because there's just so much chaos and crisis in the world that it feels like every one of us is being shoved from one emergency to the next.\u003c/p>\n\u003cp>We have to compartmentalize, and of course, we have to go numb a little bit. But I think that there is a real danger in that. There's a real danger in living without feeling and swallowing everything to become sort of courageous and resilient. And listen, I love the word \"resilience\" and I want to be resilient. But sometimes I think we also need to be a mess.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We need to feel and maybe have someone give us macaroni and cheese while we cry. I think those are really important moments. It's what makes us human. It also is what makes us able to find strength.\u003c/p>\n\u003cp>There is power in that moment when you break down, that moment when you feel all the feelings and it feels like too much. That's important because that's where we get the courage to go on, and maybe pursue the action that we need to see in the world. But I do think we need to make space for breathing, for falling apart, for crying. And for grieving those that we lost, because we just, we move on so quickly.\u003c/p>\n\u003cp>We're asked to move on so quickly. And I think sometimes we aren't supposed to.\u003c/p>\n\u003cp>\u003cstrong>It feels like the river you grew up by, the creek you grew up by in Sonoma, it raised you in some way, thinking about the poem you wrote about the raccoon decomposing in the water with its little hand eventually turning to bone.\u003c/strong>\u003c/p>\n\u003cp>That's the Calabazas Creek. That creek is really important to me. Someone asked me one time where my poems come from and that creek was my first thought: \"It's the Calabazas Creek.\" There's something about that area.\u003c/p>\n\u003cp>Sometimes with poetry, we're looking for the voice under the voice. It's not just the voice, but the thing underneath it. And that creek was underneath our life. The cars were going from the job and school and all of that. You could feel the rush. But there it was quiet. It was small. There were the little crawdads and little minnows. And there was all of this life happening. But it was like a secret life. And I think oftentimes my poems begin there.\u003c/p>\n\u003cp>\u003cstrong>In this new role as poet laureate, do you feel like you have to perform yourself and perform yourself in certain ways? How do you feel about being the first Latina poet laureate?\u003c/strong>\u003c/p>\n\u003cp>That's a great question. It's easy to feel that way, and I think that people will ask that of me. But I really hope I stay true to me and who I am as an authentic human being, full of complex emotions and identities and desires and needs and poems. If I want to perform anything, it's a poem and it's not an identity.\u003c/p>\n\u003cp>\u003cstrong>Through your life you've had a few different physical conditions that have conditioned you to think about pain in certain ways. How has that infused into your identity, to have been dealing with that since you were a child?\u003c/strong>\u003c/p>\n\u003cp>I have pretty intense scoliosis. And so, in fact, I just had an adjustment yesterday and I deal with it all the time. It is something that causes me quite a bit of pain. And I think a lot about mobility issues.\u003c/p>\n\u003cp>I'm trying to avoid some of the phrasing that makes me really uncomfortable. People will say, \"Oh, you were in chronic pain.\" And I'm like, the only problem with the word \"chronic pain\" is that I would like to leave space for it not to be chronic. I'd also like to leave space for maybe someday it will all magically disappear. I think a lot about language, and the language of the body, but also that sometimes when you practice meditation, which I do, a lot of the wonderful teachers and guides will say, \"Now return to the body.\" And I often think — what if the body is really not a happy place right now?\u003c/p>\u003c/div>",
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"title": "Fred Lyon, Renowned San Francisco Photographer, Dies at Age 97",
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"headTitle": "Fred Lyon, Renowned San Francisco Photographer, Dies at Age 97 | KQED",
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"content": "\u003cp>[dropcap]F[/dropcap]red Lyon, one of the greatest of San Francisco photographers — and by some estimates one of the greatest anywhere, any time — has died at the age of 97.\u003c/p>\n\u003cp>Lyon, who built \u003ca href=\"https://www.fredlyon.com/gallery/Classic-Photography-for-Collectors/G0000mIS5.IPEWTU/\" target=\"_blank\" rel=\"noopener noreferrer\">an incomparable record\u003c/a> of his native city in a career that spanned more than seven decades, died last Monday, August 22. His wife, Penelope Whelan Rozis, told KQED the cause was lung cancer. [aside postID=\"news_11629475,news_11632348\" label=\"Related Posts\"]Peter Fetterman, a Santa Monica gallery owner who has represented the photographer and his iconic images of San Francisco for decades, described Lyon’s work as “a love poem to the city. He has such heart and warmth, and it shows through his photographs — his images of children, of just normal people,” Fetterman said in an interview Saturday. “He was one of the great humanist photographers.”\u003c/p>\n\u003cp>Rozis and Fetterman said a memorial is planned for sometime in October.\u003c/p>\n\u003cp>Lyon emerged as one of the most respected chroniclers of his long era in San Francisco from a career focused mostly on magazine and fashion photography.\u003c/p>\n\u003cp>“His career touched on every significant aspect of 20th-century photography,” said author Philip Meza, whose recent book “\u003ca href=\"https://www.penguinrandomhouse.ca/books/702187/inventing-the-california-look-by-philip-meza-photography-by-fred-lyon/9780847871520\" target=\"_blank\" rel=\"noopener noreferrer\">Inventing the California Look\u003c/a>” featured Lyon’s photography of interior decor. Lyon was a prolific contributor to national magazines including Life, Fortune, Holiday and Sports Illustrated and also worked as an ad agency photographer.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Fred Lyon, photographer\"]‘Photography wasn’t really an honorable profession. It wasn’t a profession at all. When our family physician found out what I was doing, he said, ‘Oh Frederick, that’s no work for a man.’ But it’s the ideal pursuit for an inherently nosy person. You get to peek into everyone else’s life.’[/pullquote]“And then at the age of 80, he starts a career as a fine art photographer,” Meza said, referring to a career that was active right up until Lyon’s passing. “He died working on two book projects. And just this last April, he had two books out — mine, and he was the largest contributor to another book, “\u003ca href=\"https://www.taschen.com/pages/en/catalogue/photography/all/05346/facts.san_francisco_portrait_of_a_city.htm\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco: Portrait of a City\u003c/a>.”\u003c/p>\n\u003cp>Fetterman said he had not encountered Lyon’s work before seeing an image called “Foggy Night, Land’s End.”\u003c/p>\n\u003cp>“I thought I knew a lot about photographers and the history of photography,” Fetterman said. When he came across “Foggy Night,” he said, “I was totally blown away by it. I thought, ‘Why haven’t I heard of this man? Who is this man? This man is a giant — anyone who could make that kind of composition, I have to know more about him.'”\u003c/p>\n\u003cfigure id=\"attachment_11923891\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/FNLE-Lyon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11923891\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/FNLE-Lyon-800x799.jpg\" alt=\"Black and white night-time image with man, woman and car silhouetted in fog. \" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/FNLE-Lyon-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/FNLE-Lyon-1020x1019.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/FNLE-Lyon-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/FNLE-Lyon.jpg 1442w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Foggy NIght, Land’s End,’ a 1953 image shot by San Francisco photographer Fred Lyon. \u003ccite>(Fred Lyon/Peter Fetterman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]L[/dropcap]yon told KQED’s \u003ca href=\"https://www.kqed.org/author/patyollin\" target=\"_blank\" rel=\"noopener noreferrer\">Pat Yollin\u003c/a> in \u003ca href=\"https://www.kqed.org/news/11629475/photographer-fred-lyon-is-93-and-still-in-love-with-san-francisco?\" target=\"_blank\" rel=\"noopener noreferrer\">a 2017 profile\u003c/a> that he became fascinated with photography early in his teens.\u003c/p>\n\u003cp>“Cameras were shiny objects,” he said. “I knew a guy who had one and he always seemed to have a lot of cute girls around him. I thought that if I had a camera, maybe I’d get girls, too.”\u003c/p>\n\u003cp>Lyon skipped two grades, graduated from Burlingame High School, apprenticed at a San Francisco photography studio at age 14 and then, a year later, attended the Art Center School in Los Angeles, where Ansel Adams was a teacher.\u003c/p>\n\u003cp>In a 2020 interview with “California Look” collaborator Philip Meza, Lyon recalled how he joined Adams and a select handful of other students on a summer trip to Adams’ home in Yosemite. He said he took from Adams certain artistic tenets, such as Adams’ famous admonition, “There’s nothing worse than a very sharp image of a very fuzzy concept.” But even then, Lyon said, he knew he needed to become his own photographer.\u003c/p>\n\u003cp>“My feeling was that I could never learn all Ansel knew,” Lyon said. “I could never be more than a miniature Ansel Adams if I tried to be like him. I was never going to become a landscape photographer. I always seem to need to include some of the works of man in my work. Ansel was terrific and inspirational, but I didn’t want to emulate what he was doing.”\u003c/p>\n\u003cp>Lyon was a Navy photographer during World War II, an assignment that took him to the White House, where he took a Christmas portrait of President Franklin D. Roosevelt and his extended family in 1944. He photographed President Harry S. Truman on his first day in the Oval Office following Roosevelt’s death in April 1945.\u003c/p>\n\u003cp>After the war, Lyon shot fashion assignments in New York City before returning to the Bay Area in 1946, where his family’s thriving real estate business awaited him. But he had other ideas.\u003c/p>\n\u003cp>“Photography wasn’t really an honorable profession,” Lyon told KQED in 2017. “It wasn’t a profession at all. When our family physician found out what I was doing, he said, ‘Oh Frederick, that’s no work for a man.’ But it’s the ideal pursuit for an inherently nosy person. You get to peek into everyone else’s life.”\u003c/p>\n\u003cp>[dropcap]A[/dropcap]ll through his career, Lyon was very busy getting those glimpses into the lives of others.\u003c/p>\n\u003cp>“We looked at his work logs — he logged in every shoot he did from maybe 1940 on,” Rozis, who married Lyon 20 years ago, said Saturday. “There were all kinds of interesting people, from sports to fashion to architecture to films. It’s just amazing. He said, ‘When I look at these job logs, it makes me tired.’ Every day there were two or more shoots.”\u003c/p>\n\u003cp>Meza says that Lyon set out to become a working photographer, a mission at which he was fabulously successful, but did not consider himself an artist.\u003c/p>\n\u003cp>“Nevertheless, he did become one,” Meza said, the proof being the enduring attraction of the images he captured. “If it is a generation or more removed from the viewer, like some of Fred’s fine art photography, it retains these powers and is not just a curiosity because it is antique. I think his artistic sense was derived from his abundant empathy, curiosity and intelligence.”\u003c/p>\n\u003cfigure id=\"attachment_11923902\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11923902\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM-800x804.png\" alt=\"Two children sliding on cardboard down a steep street in San Francisco in 1952.\" width=\"800\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM-800x804.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM-1020x1026.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM-1528x1536.png 1528w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM.png 1846w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Children street-sledding down steep hill, North Beach, San Francisco, 1952. \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fetterman says that, beyond the quality of his work, Lyon stood out as someone who embraced life and other people.\u003c/p>\n\u003cp>“He was a joyous character,” Fetterman said. “He was like Cary Grant. He was from another era of charm and manners and gracefulness — all of it genuine.”[pullquote size=\"medium\" align=\"right\" citation=\"Fred Lyon, photographer\"]‘I see pictures I would like to take. I need another lifetime to photograph San Francisco. But my life has been so much fun I can’t believe it.’[/pullquote]Lyon’s personality — his dedication to craft, sense of wonder and joie de vivre — shine through in \u003ca href=\"https://www.kqed.org/news/11629475/photographer-fred-lyon-is-93-and-still-in-love-with-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s 2017 profile\u003c/a>.\u003c/p>\n\u003cp>The story noted that Lyon, “reduced to a shuffle” and accompanied by his wife “to keep me from being hit by motorists,” was still venturing out to shoot the city where he was born back in 1924. “I want to be wherever the composition is right, and it’s usually in the middle of traffic. I love the 500 Club (at Guerrero and 17th streets, in the Mission) because it has the cocktail glass and the neon sign.”\u003c/p>\n\u003cp>And Lyon made clear in the story that he bore a deep affection for both the old San Francisco and the city it has become:\u003c/p>\n\u003cblockquote>\u003cp>“Lyon has had neither the time nor inclination to embrace nostalgia, but there are things he misses about the old San Francisco: He used to swim at Sutro Baths. Kids played in the streets. People didn’t hurry and weren’t on ‘their damn iPhones all the time.’ There wasn’t much traffic or all those ‘killer buses.’ San Franciscans didn’t dress like they were camping, and didn’t wear baseball caps backward in good restaurants.\u003c/p>\n\u003cp>“‘Now that I’m officially an antique, I can say that I’m old-fashioned,’ Lyon said. …\u003c/p>\n\u003cp>” … But Lyon loves San Francisco in its current incarnation, especially certain things: The profusion of Thai restaurants. Bicycles everywhere. Fantastic fruits and vegetables. All the watercraft on the bay. A revitalized North Beach. The Lands End Lookout. And a lot more sidewalk trees, which ‘cover up some execrable architecture.'”\u003c/p>\u003c/blockquote>\n\u003cp>[dropcap]T[/dropcap]he 2017 piece had a sequel. It featured photographs from a just-published book of Lyon’s work, “\u003ca href=\"https://papress.com/products/san-francisco-noir\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Noir\u003c/a>.” The piece included several images from the book, including an undated black-and-white image of a series of gabled houses with a hill full of more houses rising into the haze beyond.\u003c/p>\n\u003cfigure id=\"attachment_11629489\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629489\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-800x622.jpg\" alt=\"Fred Lyon has taken so many pictures that he doesn't always remember when or where they were shot. He and his wife have spent hours driving around San Francisco trying to figure out the neighborhood where "Houses on the Hills" is located.\" width=\"800\" height=\"622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-1180x917.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-520x404.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fred Lyon took so many pictures that he didn’t always remember when or where they were shot. He and his wife spent hours driving around San Francisco trying to figure out where ‘Houses on the Hills’ was shot. \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The caption said: “Fred Lyon has taken so many pictures that he doesn’t always remember when or where they were shot. He and his wife have spent hours driving around San Francisco trying to figure out the neighborhood where ‘Houses on the Hills’ is located.”\u003c/p>\n\u003cp>The mystery of that photo’s location spawned a KQED social media challenge — to help find the spot where “Houses on the Hill” was shot. Two of our readers figured it out, and Yollin and Lyon visited the site with them. The result was another story, “\u003ca href=\"https://www.kqed.org/news/11632348/crowdsourcing-a-vanished-view-of-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Mystery Solved: Crowdsourcing a Vanished View of San Francisco\u003c/a>.”\u003c/p>\n\u003cp>“I can’t tell you how amazing I think it is that you identified this,” Lyon told the two readers, Robert Aranda Jr. and Eric Chesmar, who correctly identified the picture’s Noe Valley location.\u003c/p>\n\u003cp>Besides Rozis, Lyon is survived by two sons, Michael and Gordon, from his first marriage, to the late Anne Murray Lyon, who died in 1989.\u003c/p>\n\u003cp>As he approached his mid-90s, Lyon told Yollin, he felt there was still more work to do.\u003c/p>\n\u003cp>“I see pictures I would like to take,” he said. “I need another lifetime to photograph San Francisco. But my life has been so much fun I can’t believe it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Remembering a craftsman and artist who built built an incomparable record of his native city in a career that spanned more than seven decades.",
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"title": "Fred Lyon, Renowned San Francisco Photographer, Dies at Age 97 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>red Lyon, one of the greatest of San Francisco photographers — and by some estimates one of the greatest anywhere, any time — has died at the age of 97.\u003c/p>\n\u003cp>Lyon, who built \u003ca href=\"https://www.fredlyon.com/gallery/Classic-Photography-for-Collectors/G0000mIS5.IPEWTU/\" target=\"_blank\" rel=\"noopener noreferrer\">an incomparable record\u003c/a> of his native city in a career that spanned more than seven decades, died last Monday, August 22. His wife, Penelope Whelan Rozis, told KQED the cause was lung cancer. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Peter Fetterman, a Santa Monica gallery owner who has represented the photographer and his iconic images of San Francisco for decades, described Lyon’s work as “a love poem to the city. He has such heart and warmth, and it shows through his photographs — his images of children, of just normal people,” Fetterman said in an interview Saturday. “He was one of the great humanist photographers.”\u003c/p>\n\u003cp>Rozis and Fetterman said a memorial is planned for sometime in October.\u003c/p>\n\u003cp>Lyon emerged as one of the most respected chroniclers of his long era in San Francisco from a career focused mostly on magazine and fashion photography.\u003c/p>\n\u003cp>“His career touched on every significant aspect of 20th-century photography,” said author Philip Meza, whose recent book “\u003ca href=\"https://www.penguinrandomhouse.ca/books/702187/inventing-the-california-look-by-philip-meza-photography-by-fred-lyon/9780847871520\" target=\"_blank\" rel=\"noopener noreferrer\">Inventing the California Look\u003c/a>” featured Lyon’s photography of interior decor. Lyon was a prolific contributor to national magazines including Life, Fortune, Holiday and Sports Illustrated and also worked as an ad agency photographer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘Photography wasn’t really an honorable profession. It wasn’t a profession at all. When our family physician found out what I was doing, he said, ‘Oh Frederick, that’s no work for a man.’ But it’s the ideal pursuit for an inherently nosy person. You get to peek into everyone else’s life.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“And then at the age of 80, he starts a career as a fine art photographer,” Meza said, referring to a career that was active right up until Lyon’s passing. “He died working on two book projects. And just this last April, he had two books out — mine, and he was the largest contributor to another book, “\u003ca href=\"https://www.taschen.com/pages/en/catalogue/photography/all/05346/facts.san_francisco_portrait_of_a_city.htm\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco: Portrait of a City\u003c/a>.”\u003c/p>\n\u003cp>Fetterman said he had not encountered Lyon’s work before seeing an image called “Foggy Night, Land’s End.”\u003c/p>\n\u003cp>“I thought I knew a lot about photographers and the history of photography,” Fetterman said. When he came across “Foggy Night,” he said, “I was totally blown away by it. I thought, ‘Why haven’t I heard of this man? Who is this man? This man is a giant — anyone who could make that kind of composition, I have to know more about him.'”\u003c/p>\n\u003cfigure id=\"attachment_11923891\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/FNLE-Lyon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11923891\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/FNLE-Lyon-800x799.jpg\" alt=\"Black and white night-time image with man, woman and car silhouetted in fog. \" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/FNLE-Lyon-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/FNLE-Lyon-1020x1019.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/FNLE-Lyon-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/FNLE-Lyon.jpg 1442w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Foggy NIght, Land’s End,’ a 1953 image shot by San Francisco photographer Fred Lyon. \u003ccite>(Fred Lyon/Peter Fetterman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">L\u003c/span>\u003c/p>\u003cp>yon told KQED’s \u003ca href=\"https://www.kqed.org/author/patyollin\" target=\"_blank\" rel=\"noopener noreferrer\">Pat Yollin\u003c/a> in \u003ca href=\"https://www.kqed.org/news/11629475/photographer-fred-lyon-is-93-and-still-in-love-with-san-francisco?\" target=\"_blank\" rel=\"noopener noreferrer\">a 2017 profile\u003c/a> that he became fascinated with photography early in his teens.\u003c/p>\n\u003cp>“Cameras were shiny objects,” he said. “I knew a guy who had one and he always seemed to have a lot of cute girls around him. I thought that if I had a camera, maybe I’d get girls, too.”\u003c/p>\n\u003cp>Lyon skipped two grades, graduated from Burlingame High School, apprenticed at a San Francisco photography studio at age 14 and then, a year later, attended the Art Center School in Los Angeles, where Ansel Adams was a teacher.\u003c/p>\n\u003cp>In a 2020 interview with “California Look” collaborator Philip Meza, Lyon recalled how he joined Adams and a select handful of other students on a summer trip to Adams’ home in Yosemite. He said he took from Adams certain artistic tenets, such as Adams’ famous admonition, “There’s nothing worse than a very sharp image of a very fuzzy concept.” But even then, Lyon said, he knew he needed to become his own photographer.\u003c/p>\n\u003cp>“My feeling was that I could never learn all Ansel knew,” Lyon said. “I could never be more than a miniature Ansel Adams if I tried to be like him. I was never going to become a landscape photographer. I always seem to need to include some of the works of man in my work. Ansel was terrific and inspirational, but I didn’t want to emulate what he was doing.”\u003c/p>\n\u003cp>Lyon was a Navy photographer during World War II, an assignment that took him to the White House, where he took a Christmas portrait of President Franklin D. Roosevelt and his extended family in 1944. He photographed President Harry S. Truman on his first day in the Oval Office following Roosevelt’s death in April 1945.\u003c/p>\n\u003cp>After the war, Lyon shot fashion assignments in New York City before returning to the Bay Area in 1946, where his family’s thriving real estate business awaited him. But he had other ideas.\u003c/p>\n\u003cp>“Photography wasn’t really an honorable profession,” Lyon told KQED in 2017. “It wasn’t a profession at all. When our family physician found out what I was doing, he said, ‘Oh Frederick, that’s no work for a man.’ But it’s the ideal pursuit for an inherently nosy person. You get to peek into everyone else’s life.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>ll through his career, Lyon was very busy getting those glimpses into the lives of others.\u003c/p>\n\u003cp>“We looked at his work logs — he logged in every shoot he did from maybe 1940 on,” Rozis, who married Lyon 20 years ago, said Saturday. “There were all kinds of interesting people, from sports to fashion to architecture to films. It’s just amazing. He said, ‘When I look at these job logs, it makes me tired.’ Every day there were two or more shoots.”\u003c/p>\n\u003cp>Meza says that Lyon set out to become a working photographer, a mission at which he was fabulously successful, but did not consider himself an artist.\u003c/p>\n\u003cp>“Nevertheless, he did become one,” Meza said, the proof being the enduring attraction of the images he captured. “If it is a generation or more removed from the viewer, like some of Fred’s fine art photography, it retains these powers and is not just a curiosity because it is antique. I think his artistic sense was derived from his abundant empathy, curiosity and intelligence.”\u003c/p>\n\u003cfigure id=\"attachment_11923902\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11923902\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM-800x804.png\" alt=\"Two children sliding on cardboard down a steep street in San Francisco in 1952.\" width=\"800\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM-800x804.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM-1020x1026.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM-1528x1536.png 1528w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/08/Screen-Shot-2022-08-28-at-1.43.49-PM.png 1846w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Children street-sledding down steep hill, North Beach, San Francisco, 1952. \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fetterman says that, beyond the quality of his work, Lyon stood out as someone who embraced life and other people.\u003c/p>\n\u003cp>“He was a joyous character,” Fetterman said. “He was like Cary Grant. He was from another era of charm and manners and gracefulness — all of it genuine.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lyon’s personality — his dedication to craft, sense of wonder and joie de vivre — shine through in \u003ca href=\"https://www.kqed.org/news/11629475/photographer-fred-lyon-is-93-and-still-in-love-with-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s 2017 profile\u003c/a>.\u003c/p>\n\u003cp>The story noted that Lyon, “reduced to a shuffle” and accompanied by his wife “to keep me from being hit by motorists,” was still venturing out to shoot the city where he was born back in 1924. “I want to be wherever the composition is right, and it’s usually in the middle of traffic. I love the 500 Club (at Guerrero and 17th streets, in the Mission) because it has the cocktail glass and the neon sign.”\u003c/p>\n\u003cp>And Lyon made clear in the story that he bore a deep affection for both the old San Francisco and the city it has become:\u003c/p>\n\u003cblockquote>\u003cp>“Lyon has had neither the time nor inclination to embrace nostalgia, but there are things he misses about the old San Francisco: He used to swim at Sutro Baths. Kids played in the streets. People didn’t hurry and weren’t on ‘their damn iPhones all the time.’ There wasn’t much traffic or all those ‘killer buses.’ San Franciscans didn’t dress like they were camping, and didn’t wear baseball caps backward in good restaurants.\u003c/p>\n\u003cp>“‘Now that I’m officially an antique, I can say that I’m old-fashioned,’ Lyon said. …\u003c/p>\n\u003cp>” … But Lyon loves San Francisco in its current incarnation, especially certain things: The profusion of Thai restaurants. Bicycles everywhere. Fantastic fruits and vegetables. All the watercraft on the bay. A revitalized North Beach. The Lands End Lookout. And a lot more sidewalk trees, which ‘cover up some execrable architecture.'”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he 2017 piece had a sequel. It featured photographs from a just-published book of Lyon’s work, “\u003ca href=\"https://papress.com/products/san-francisco-noir\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Noir\u003c/a>.” The piece included several images from the book, including an undated black-and-white image of a series of gabled houses with a hill full of more houses rising into the haze beyond.\u003c/p>\n\u003cfigure id=\"attachment_11629489\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629489\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-800x622.jpg\" alt=\"Fred Lyon has taken so many pictures that he doesn't always remember when or where they were shot. He and his wife have spent hours driving around San Francisco trying to figure out the neighborhood where "Houses on the Hills" is located.\" width=\"800\" height=\"622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-1180x917.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut-520x404.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS27942_houses-on-hill-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fred Lyon took so many pictures that he didn’t always remember when or where they were shot. He and his wife spent hours driving around San Francisco trying to figure out where ‘Houses on the Hills’ was shot. \u003ccite>(Fred Lyon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The caption said: “Fred Lyon has taken so many pictures that he doesn’t always remember when or where they were shot. He and his wife have spent hours driving around San Francisco trying to figure out the neighborhood where ‘Houses on the Hills’ is located.”\u003c/p>\n\u003cp>The mystery of that photo’s location spawned a KQED social media challenge — to help find the spot where “Houses on the Hill” was shot. Two of our readers figured it out, and Yollin and Lyon visited the site with them. The result was another story, “\u003ca href=\"https://www.kqed.org/news/11632348/crowdsourcing-a-vanished-view-of-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Mystery Solved: Crowdsourcing a Vanished View of San Francisco\u003c/a>.”\u003c/p>\n\u003cp>“I can’t tell you how amazing I think it is that you identified this,” Lyon told the two readers, Robert Aranda Jr. and Eric Chesmar, who correctly identified the picture’s Noe Valley location.\u003c/p>\n\u003cp>Besides Rozis, Lyon is survived by two sons, Michael and Gordon, from his first marriage, to the late Anne Murray Lyon, who died in 1989.\u003c/p>\n\u003cp>As he approached his mid-90s, Lyon told Yollin, he felt there was still more work to do.\u003c/p>\n\u003cp>“I see pictures I would like to take,” he said. “I need another lifetime to photograph San Francisco. But my life has been so much fun I can’t believe it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Two women of color who struggled for recognition in Hollywood have finally received it.\u003c/p>\n\u003cp>Native American actress Sacheen Littlefeather \u003ca href=\"https://www.oscars.org/news/academy-museum-welcomes-sacheen-littlefeather-evening-conversation-healing-and-celebration\">\u003cspan style=\"font-weight: 400\">received an official apology for harassment and the destruction of her career\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>and revolutionary Black actress Juanita Moore was granted a posthumous star on the iconic Hollywood Walk of Fame.\u003c/p>\n\u003cp>Littlefeather rocketed to fame during 60 seconds of the 1973 Academy Awards ceremony. That year, Marlon Brando was nominated for Best Actor for his portrayal of Don Vito Corleone in the 1972 film “The Godfather.” Littlefeather and Brando had planned that if he won, she would announce his refusal to accept the award in protest of the treatment of Native Americans.\u003c/p>\n\u003cp>Brando stayed away from the ceremony and Littlefeather, an Apache and president of the Native American Affirmative Image Committee, attended on his behalf. \u003ca href=\"https://www.youtube.com/watch?v=2QUacU0I4yU\">\u003cspan style=\"font-weight: 400\">When Brando’s win was announced, Littlefeather came to the stage \u003c/span>\u003c/a> in tribal dress, her long black hair held in beaded bands.\u003c/p>\n\u003cp>[aside postID='news_11800021,news_11874704']She did not take the Oscar, and said that Brando “very regretfully cannot accept this very generous award. And the reasons for this being, are the treatment of American Indians today by the film industry — excuse me,” Littlefeather paused as her speech was interrupted by boos — and applause.\u003c/p>\n\u003cp>\u003ca href=\"http://aaspeechesdb.oscars.org/link/045-1/\">\u003cspan style=\"font-weight: 400\">Littlefeather continued\u003c/span>\u003c/a>, “And on television in movie reruns, and also with recent happenings at Wounded Knee. I beg at this time that I have not intruded upon this evening and that we will in the future, our hearts and our understandings will meet with love and generosity. Thank you on behalf of Marlon Brando.”\u003c/p>\n\u003cp>After the Oscars, Littlefeather was boycotted and her TV and movie career floundered.\u003c/p>\n\u003cp>Almost 50 years later, in June of this year, Littlefeather was presented with a statement of apology, signed by former president of the Academy of Motion Picture Arts and Sciences David Rubin, stating that the abuse she experienced was “unwarranted and unjustified.”\u003c/p>\n\u003cp>“The emotional burden you have lived through and the cost to your own career in our industry are irreparable,” Rubin wrote. “For too long the courage you showed has been unacknowledged. For this, we offer both our deepest apologies and our sincere admiration.”\u003c/p>\n\u003cp>[aside postID='arts_13869074']Despite the damage caused by that night at the Oscars, Littlefeather’s work as an activist took off.\u003c/p>\n\u003cp>“The more that Native American Indian people like myself speak out, the more understanding that there becomes,” Littlefeather told KQED reporter Chloe Veltman two years ago from her home in Marin County. “The truth has got to win out above all the lies that have been told about us by the dominant society.”\u003c/p>\n\u003cp>The Academy Museum of Motion Picture will host a special event with Sacheen Littlefeather featuring a public apology and a celebration of Indigenous culture on September 17.\u003c/p>\n\u003cp>Also in June, the Walk of Fame Selection Panel of the Hollywood Chamber of Commerce announced that Juanita Moore, a revolutionary Black actor featured in bit parts, guest appearances and starring roles from the 1930s through the early 2000s, \u003ca href=\"https://walkoffame.com/press_releases/walkoffameclassof2023/\">\u003cspan style=\"font-weight: 400\">will be honored with a posthumous star on the Hollywood Walk of Fame\u003c/span>\u003c/a>.\u003c/p>\n\u003cp>Moore was a film, TV and stage actress who was born in Greenwood, Mississippi, and grew up in Los Angeles. Although she appeared in more than 80 films and TV shows, her name didn’t even appear in the credits for many of the movies she was in.\u003c/p>\n\u003cp>Her portrayal of Annie Johnson in the 1959 film “Imitation of Life” earned her an Oscar nomination for Best Supporting Actress, making her the fifth Black actor in moviemaking history to be nominated for an Academy Award. In the film, Annie is a mother whose light-skinned daughter, Sarah Jane, rejects her Black identity and tries to pass as white.\u003c/p>\n\u003cp>Following Juanita Moore’s death eight years ago, Moore’s nephew, Arnett Moore, began pushing for his aunt to be commemorated with a Hollywood star on the iconic Walk of Fame.\u003c/p>\n\u003cp>“She was a trailblazer. She opened doors and today, a lot of the actors of color are not having to deal with some of the things she dealt with,” Arnett Moore\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"https://www.kqed.org/news/11874704/a-star-without-a-star-an-oakland-mans-mission-to-get-his-aunt-on-the-hollywood-walk-of-fame\">\u003cspan style=\"font-weight: 400\">told The California Report Magazine last year\u003c/span>\u003c/a>.\u003c/p>\n\u003cp>Moore also was recently \u003ca href=\"https://www.wtok.com/2022/02/06/juanita-moore-honored-by-max/\">\u003cspan style=\"font-weight: 400\">given a star on the \u003c/span>\u003cspan style=\"font-weight: 400\">The Mississippi Arts and Entertainment Experience (MAX) \u003c/span>\u003cspan style=\"font-weight: 400\">Walk of Fame\u003c/span>\u003c/a> in Meridian, Mississippi, which features performance artists born in that state.\u003c/p>\n\u003cp>Her star on the Hollywood Walk of Fame will be placed in October 2023.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She did not take the Oscar, and said that Brando “very regretfully cannot accept this very generous award. And the reasons for this being, are the treatment of American Indians today by the film industry — excuse me,” Littlefeather paused as her speech was interrupted by boos — and applause.\u003c/p>\n\u003cp>\u003ca href=\"http://aaspeechesdb.oscars.org/link/045-1/\">\u003cspan style=\"font-weight: 400\">Littlefeather continued\u003c/span>\u003c/a>, “And on television in movie reruns, and also with recent happenings at Wounded Knee. I beg at this time that I have not intruded upon this evening and that we will in the future, our hearts and our understandings will meet with love and generosity. Thank you on behalf of Marlon Brando.”\u003c/p>\n\u003cp>After the Oscars, Littlefeather was boycotted and her TV and movie career floundered.\u003c/p>\n\u003cp>Almost 50 years later, in June of this year, Littlefeather was presented with a statement of apology, signed by former president of the Academy of Motion Picture Arts and Sciences David Rubin, stating that the abuse she experienced was “unwarranted and unjustified.”\u003c/p>\n\u003cp>“The emotional burden you have lived through and the cost to your own career in our industry are irreparable,” Rubin wrote. “For too long the courage you showed has been unacknowledged. For this, we offer both our deepest apologies and our sincere admiration.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite the damage caused by that night at the Oscars, Littlefeather’s work as an activist took off.\u003c/p>\n\u003cp>“The more that Native American Indian people like myself speak out, the more understanding that there becomes,” Littlefeather told KQED reporter Chloe Veltman two years ago from her home in Marin County. “The truth has got to win out above all the lies that have been told about us by the dominant society.”\u003c/p>\n\u003cp>The Academy Museum of Motion Picture will host a special event with Sacheen Littlefeather featuring a public apology and a celebration of Indigenous culture on September 17.\u003c/p>\n\u003cp>Also in June, the Walk of Fame Selection Panel of the Hollywood Chamber of Commerce announced that Juanita Moore, a revolutionary Black actor featured in bit parts, guest appearances and starring roles from the 1930s through the early 2000s, \u003ca href=\"https://walkoffame.com/press_releases/walkoffameclassof2023/\">\u003cspan style=\"font-weight: 400\">will be honored with a posthumous star on the Hollywood Walk of Fame\u003c/span>\u003c/a>.\u003c/p>\n\u003cp>Moore was a film, TV and stage actress who was born in Greenwood, Mississippi, and grew up in Los Angeles. Although she appeared in more than 80 films and TV shows, her name didn’t even appear in the credits for many of the movies she was in.\u003c/p>\n\u003cp>Her portrayal of Annie Johnson in the 1959 film “Imitation of Life” earned her an Oscar nomination for Best Supporting Actress, making her the fifth Black actor in moviemaking history to be nominated for an Academy Award. In the film, Annie is a mother whose light-skinned daughter, Sarah Jane, rejects her Black identity and tries to pass as white.\u003c/p>\n\u003cp>Following Juanita Moore’s death eight years ago, Moore’s nephew, Arnett Moore, began pushing for his aunt to be commemorated with a Hollywood star on the iconic Walk of Fame.\u003c/p>\n\u003cp>“She was a trailblazer. She opened doors and today, a lot of the actors of color are not having to deal with some of the things she dealt with,” Arnett Moore\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"https://www.kqed.org/news/11874704/a-star-without-a-star-an-oakland-mans-mission-to-get-his-aunt-on-the-hollywood-walk-of-fame\">\u003cspan style=\"font-weight: 400\">told The California Report Magazine last year\u003c/span>\u003c/a>.\u003c/p>\n\u003cp>Moore also was recently \u003ca href=\"https://www.wtok.com/2022/02/06/juanita-moore-honored-by-max/\">\u003cspan style=\"font-weight: 400\">given a star on the \u003c/span>\u003cspan style=\"font-weight: 400\">The Mississippi Arts and Entertainment Experience (MAX) \u003c/span>\u003cspan style=\"font-weight: 400\">Walk of Fame\u003c/span>\u003c/a> in Meridian, Mississippi, which features performance artists born in that state.\u003c/p>\n\u003cp>Her star on the Hollywood Walk of Fame will be placed in October 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'Everyone Was in Tears': Your Memories of Movies, Joy and Community at the Castro Theatre",
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"content": "\u003cp>There are big changes ahead for San Francisco’s legendary Castro Theatre.\u003c/p>\n\u003cp>Live music promoters \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Another Planet Entertainment have announced plans to renovate the venue\u003c/a>, part of which includes removing many of the theater’s iconic red velvet chairs. \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Read more about this complex saga from KQED Arts & Culture.\u003c/a>\u003c/p>\n\u003cp>Regardless of what the future holds, it’s the end of an era for the beloved Castro Theatre. So we wanted to create a space to highlight some of your memories.\u003c/p>\n\u003cp>We asked you: \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall#castrotheatre\">What was your most memorable experience at the Castro?\u003c/a> From first dates and childhood memories to unforgettable movies and an overwhelming sense of community, you delivered.\u003c/p>\n\u003cp>Read on for some of the stories you sent us. And if you didn't get the chance to share your own memories and you want to do so, you can still \u003ca href=\"#castrotheatre\">send us your thoughts on the Castro Theatre here\u003c/a>.\u003c/p>\n\u003cp>\u003cem>These submissions have been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>Worked at the Castro from 1983-1986. Most memorable experience? \u003cstrong>Getting married on the mezzanine level in August 1986.\u003c/strong> Being broke, I approached my manager about getting married in the theater. He agreed as long as we were done before the Saturday matinee. — \u003cem>Linda Absher\u003c/em>\u003cspan style=\"font-weight: 400\">[aside postID=arts_13917362 hero='https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg']\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Hayao Miyazaki’s \"Spirited Away\" at the Castro was the most amazing movie experience of my life.\u003c/strong> The energy was incredible, and I remember how Japanese speakers were laughing before people reading the subtitles caught up. A representative of Studio Ghibli was there, I think it was \u003ca href=\"https://en.wikipedia.org/wiki/Toshio_Suzuki_(producer)\">[Toshio] Suzuki\u003c/a>, and I hope he went back and told Miyazaki how much the audience loved his film. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\"Fantasia,\" 1979. The organist played first, then the movie started, and my date brought out a joint!\u003c/strong> I had never tried marijuana before — I am sure that this \"altered\" my movie experience! — \u003cem>Anonymous \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922228\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922228\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022.jpg\" alt=\"Rows of red velvet seats in a dimmed theater.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I've spent so many nights at the Castro over the decades, but one of the most memorable was a screening of \"Milk.\" Cleve Jones was there along with others from the production and those who informed it. Those of us who remembered Harvey Milk were in the audience wondering whether the Sean Penn portrayal would fit.\u003c/p>\n\u003cp>Toward the end of the film, there was a scene showing the candlelight march after the assassination moving down Market St. from the Castro.\u003cstrong> Everyone in the theater was in tears. Including myself.\u003c/strong>\u003c/p>\n\u003cp>A room full of strangers together in that space, feeling the same emotions. The Castro Theatre was the center of our experience. \u003cstrong>It was a moment for our community and in our lives that I will never forget.\u003c/strong> — \u003cem>Fred Bove\u003c/em>\u003c/p>\n\u003cp>When the \"Blade Runner\" director's cut [1992] came out, I went alone to see it at the Castro. Rain was just starting when I went into the red-and-gold, well-loved, slightly shabby Art Deco interior. I'd seen the original release and a couple of video versions; this cut's subtle changes made it that much more enthralling.\u003c/p>\n\u003cp>My head full of neon and rain, and the Bradbury building where Roy and Pris met their ends, I walked out of the theater to find the sky opened and pouring, light and reflections everywhere, water coursing down my trench coat as I walked up Castro Street. \u003cstrong>My favorite moment of immersive cinema ever.\u003c/strong> — \u003cem>Alana Dill\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922667\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922667\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut.jpg\" alt=\"The frontage of the Castro Theatre, shot from a low angle below.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre in San Francisco's Castro District on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1970s and '80s it was wondrous to sit in the Castro Theatre, enjoy the Art Deco artistry and listen to the organ player before the retro movies began. \u003cstrong>Most of all we relished the feeling of what it must have been like in gone-by eras. \u003c/strong>Seeing the stage intact below the screen, even though the stage was no longer used, allowed me to imagine what a burlesque hall must have felt like, and how audiences during the early days of film must have felt, experiencing the transition from burlesque to film entertainment.\u003c/p>\n\u003cp>In our current era we are transitioning yet again, but if we were to radically change the Castro Theatre we would never be able to truly preserve the full legacy of showbiz and we couldn’t physically relive its former eras. \u003cstrong>If the theater can’t be profitable, let’s establish a fund to subsidize it as we would any important museum or archive.\u003c/strong> — \u003cem>Marti Schoen\u003c/em>\u003c/p>\n\u003cp>Well. \u003cstrong>I don't remember which movie it was but I had sex in the balcony once, which I feel quite proud of now!\u003c/strong> Favorite movie experience was probably \"Wuthering Heights.\" And of course many rounds of Frameline. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922668\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922668\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut.jpg\" alt=\"The proscenium of the Castro Theatre, shot from below. The lighting is purple and gold.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a kid growing up in the Castro (born in 1944) my wife spent Saturday in the theater. Twenty cents to get in, a nickel for candy and two movies, newsreel, serial, cartoons. \u003cstrong>A day’s worth of entertainment. Family nights in the balcony. Lots of memories, all good.\u003c/strong> — \u003cem>Rose Shuck \u003c/em>\u003c/p>\n\u003cp>Highlight: \"Nights of Cabiria,\" the great Fellini movie, with a beautiful print, maybe eight years ago. \u003cstrong>The whole, packed-house audience almost held its breath at the ending.\u003c/strong>\u003c/p>\n\u003cp>Community moments: Lost Landscapes of San Francisco. The first \"BAHFest\" (Bad Ad Hoc Hypotheses) in a science festival. Realizing in an \"aha!\" moment that the Jewish Film Festival was where I would run into \u003cem>all\u003c/em> my Jewish acquaintances and friends if I attended enough shows. — \u003cem>David Grosof\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Watching \"Miracle on 34th Street\" with a sold-out crowd of movie lovers.\u003c/strong> The way everyone booed the evil company psychiatrist, then the place erupted in cheers when the bags of letters to Santa were poured out on the judge’s desk!\u003c/p>\n\u003cp>I have been to rock concerts and weddings and whatever else they are thinking this absolutely historic movie theater will be used for, and \u003cstrong>I have never experienced a thrill like it or a greater sense of shared joy.\u003c/strong> This place is the heart of a great community and if they tear it up it will be a travesty. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922669\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922669\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees pick up free sodas and popcorn before the town hall to discuss planned renovations at the theater on Aug. 11, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first feature film I produced premiered at the Castro as part of the Frameline Film Festival. \u003cstrong>I will never forget my excitement as I watched the historic venue fill up with strangers coming to see my movie.\u003c/strong> My heart fills with joy thinking about it. — \u003cem>Ashley Hillis \u003c/em>\u003c/p>\n\u003cp>It was around 1992 and I had just begun a fiery relationship with a woman living in Oakland, while I was living in Berkeley. We met at the Castro Muni station and went to the theater to see the animated film version of \"Fritz the Cat,\" based on R. Crumb's comic strip.\u003c/p>\n\u003cp>\u003cstrong>It was my first time to the Castro Theatre and its breathtaking grandeur was matched by my ecstatic joy from having just fallen in love.\u003c/strong> Frankly, I remember almost nothing from the movie, but the way the theater was so romantic and such a conducive environment for us cuddling in our bliss is indelibly etched on my mind. That romance didn't last the summer, but even 30 years later I remember the magnificence of the Castro Theatre like it was yesterday. — \u003cem>Gifford Hartman \u003c/em>\u003c/p>\n\u003cp>Several years back, there was a minister in Oakland that announced the end of the world was on a certain upcoming date. Said date fell on the screening of George Cukor’s \"The Women\" at the Castro.\u003c/p>\n\u003cp>\u003cstrong>I thought to myself, \"If indeed it is the end of the world, I can think of no better place to be with my LGBT folk.\"\u003c/strong> — \u003cem>Carlos Chavarin\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922670\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922670\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group who identified themselves as queer youth from the Castro wear shirts that spell out 'Save the Seats' during a town hall meeting about planned renovations by Another Planet Entertainment at the theater on Aug. 11, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your own thoughts\u003c/h2>\n\u003cp>[hearken id=\"9857\" src=\"https://modules.wearehearken.com/kqed/embed/9857.js\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are big changes ahead for San Francisco’s legendary Castro Theatre.\u003c/p>\n\u003cp>Live music promoters \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Another Planet Entertainment have announced plans to renovate the venue\u003c/a>, part of which includes removing many of the theater’s iconic red velvet chairs. \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Read more about this complex saga from KQED Arts & Culture.\u003c/a>\u003c/p>\n\u003cp>Regardless of what the future holds, it’s the end of an era for the beloved Castro Theatre. So we wanted to create a space to highlight some of your memories.\u003c/p>\n\u003cp>We asked you: \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall#castrotheatre\">What was your most memorable experience at the Castro?\u003c/a> From first dates and childhood memories to unforgettable movies and an overwhelming sense of community, you delivered.\u003c/p>\n\u003cp>Read on for some of the stories you sent us. And if you didn't get the chance to share your own memories and you want to do so, you can still \u003ca href=\"#castrotheatre\">send us your thoughts on the Castro Theatre here\u003c/a>.\u003c/p>\n\u003cp>\u003cem>These submissions have been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>Worked at the Castro from 1983-1986. Most memorable experience? \u003cstrong>Getting married on the mezzanine level in August 1986.\u003c/strong> Being broke, I approached my manager about getting married in the theater. He agreed as long as we were done before the Saturday matinee. — \u003cem>Linda Absher\u003c/em>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Hayao Miyazaki’s \"Spirited Away\" at the Castro was the most amazing movie experience of my life.\u003c/strong> The energy was incredible, and I remember how Japanese speakers were laughing before people reading the subtitles caught up. A representative of Studio Ghibli was there, I think it was \u003ca href=\"https://en.wikipedia.org/wiki/Toshio_Suzuki_(producer)\">[Toshio] Suzuki\u003c/a>, and I hope he went back and told Miyazaki how much the audience loved his film. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\"Fantasia,\" 1979. The organist played first, then the movie started, and my date brought out a joint!\u003c/strong> I had never tried marijuana before — I am sure that this \"altered\" my movie experience! — \u003cem>Anonymous \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922228\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922228\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022.jpg\" alt=\"Rows of red velvet seats in a dimmed theater.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I've spent so many nights at the Castro over the decades, but one of the most memorable was a screening of \"Milk.\" Cleve Jones was there along with others from the production and those who informed it. Those of us who remembered Harvey Milk were in the audience wondering whether the Sean Penn portrayal would fit.\u003c/p>\n\u003cp>Toward the end of the film, there was a scene showing the candlelight march after the assassination moving down Market St. from the Castro.\u003cstrong> Everyone in the theater was in tears. Including myself.\u003c/strong>\u003c/p>\n\u003cp>A room full of strangers together in that space, feeling the same emotions. The Castro Theatre was the center of our experience. \u003cstrong>It was a moment for our community and in our lives that I will never forget.\u003c/strong> — \u003cem>Fred Bove\u003c/em>\u003c/p>\n\u003cp>When the \"Blade Runner\" director's cut [1992] came out, I went alone to see it at the Castro. Rain was just starting when I went into the red-and-gold, well-loved, slightly shabby Art Deco interior. I'd seen the original release and a couple of video versions; this cut's subtle changes made it that much more enthralling.\u003c/p>\n\u003cp>My head full of neon and rain, and the Bradbury building where Roy and Pris met their ends, I walked out of the theater to find the sky opened and pouring, light and reflections everywhere, water coursing down my trench coat as I walked up Castro Street. \u003cstrong>My favorite moment of immersive cinema ever.\u003c/strong> — \u003cem>Alana Dill\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922667\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922667\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut.jpg\" alt=\"The frontage of the Castro Theatre, shot from a low angle below.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre in San Francisco's Castro District on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1970s and '80s it was wondrous to sit in the Castro Theatre, enjoy the Art Deco artistry and listen to the organ player before the retro movies began. \u003cstrong>Most of all we relished the feeling of what it must have been like in gone-by eras. \u003c/strong>Seeing the stage intact below the screen, even though the stage was no longer used, allowed me to imagine what a burlesque hall must have felt like, and how audiences during the early days of film must have felt, experiencing the transition from burlesque to film entertainment.\u003c/p>\n\u003cp>In our current era we are transitioning yet again, but if we were to radically change the Castro Theatre we would never be able to truly preserve the full legacy of showbiz and we couldn’t physically relive its former eras. \u003cstrong>If the theater can’t be profitable, let’s establish a fund to subsidize it as we would any important museum or archive.\u003c/strong> — \u003cem>Marti Schoen\u003c/em>\u003c/p>\n\u003cp>Well. \u003cstrong>I don't remember which movie it was but I had sex in the balcony once, which I feel quite proud of now!\u003c/strong> Favorite movie experience was probably \"Wuthering Heights.\" And of course many rounds of Frameline. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922668\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922668\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut.jpg\" alt=\"The proscenium of the Castro Theatre, shot from below. The lighting is purple and gold.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a kid growing up in the Castro (born in 1944) my wife spent Saturday in the theater. Twenty cents to get in, a nickel for candy and two movies, newsreel, serial, cartoons. \u003cstrong>A day’s worth of entertainment. Family nights in the balcony. Lots of memories, all good.\u003c/strong> — \u003cem>Rose Shuck \u003c/em>\u003c/p>\n\u003cp>Highlight: \"Nights of Cabiria,\" the great Fellini movie, with a beautiful print, maybe eight years ago. \u003cstrong>The whole, packed-house audience almost held its breath at the ending.\u003c/strong>\u003c/p>\n\u003cp>Community moments: Lost Landscapes of San Francisco. The first \"BAHFest\" (Bad Ad Hoc Hypotheses) in a science festival. Realizing in an \"aha!\" moment that the Jewish Film Festival was where I would run into \u003cem>all\u003c/em> my Jewish acquaintances and friends if I attended enough shows. — \u003cem>David Grosof\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Watching \"Miracle on 34th Street\" with a sold-out crowd of movie lovers.\u003c/strong> The way everyone booed the evil company psychiatrist, then the place erupted in cheers when the bags of letters to Santa were poured out on the judge’s desk!\u003c/p>\n\u003cp>I have been to rock concerts and weddings and whatever else they are thinking this absolutely historic movie theater will be used for, and \u003cstrong>I have never experienced a thrill like it or a greater sense of shared joy.\u003c/strong> This place is the heart of a great community and if they tear it up it will be a travesty. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922669\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922669\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees pick up free sodas and popcorn before the town hall to discuss planned renovations at the theater on Aug. 11, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first feature film I produced premiered at the Castro as part of the Frameline Film Festival. \u003cstrong>I will never forget my excitement as I watched the historic venue fill up with strangers coming to see my movie.\u003c/strong> My heart fills with joy thinking about it. — \u003cem>Ashley Hillis \u003c/em>\u003c/p>\n\u003cp>It was around 1992 and I had just begun a fiery relationship with a woman living in Oakland, while I was living in Berkeley. We met at the Castro Muni station and went to the theater to see the animated film version of \"Fritz the Cat,\" based on R. Crumb's comic strip.\u003c/p>\n\u003cp>\u003cstrong>It was my first time to the Castro Theatre and its breathtaking grandeur was matched by my ecstatic joy from having just fallen in love.\u003c/strong> Frankly, I remember almost nothing from the movie, but the way the theater was so romantic and such a conducive environment for us cuddling in our bliss is indelibly etched on my mind. That romance didn't last the summer, but even 30 years later I remember the magnificence of the Castro Theatre like it was yesterday. — \u003cem>Gifford Hartman \u003c/em>\u003c/p>\n\u003cp>Several years back, there was a minister in Oakland that announced the end of the world was on a certain upcoming date. Said date fell on the screening of George Cukor’s \"The Women\" at the Castro.\u003c/p>\n\u003cp>\u003cstrong>I thought to myself, \"If indeed it is the end of the world, I can think of no better place to be with my LGBT folk.\"\u003c/strong> — \u003cem>Carlos Chavarin\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922670\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922670\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group who identified themselves as queer youth from the Castro wear shirts that spell out 'Save the Seats' during a town hall meeting about planned renovations by Another Planet Entertainment at the theater on Aug. 11, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your own thoughts\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Sea Level Rise and Environmental Justice\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">In the coming decades, rising sea levels will cause portions of the San Francisco Bay to flood. One worst-case scenario predicts that the bay could rise by 10 feet by the end of this century. Not only will that flood homes, but new research is focusing on the industrial sites that will be affected — from hazardous waste treatment facilities to landfills and refineries. \u003c/span>\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\">Ezra David Romero, KQED climate reporter\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Arieann Harrison, Marie Harrison Community Foundation founder and CEO\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Eduardo Martinez, Richmond Vice Mayor (D)\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Bay Area Monkeypox Infections\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Last week, the World Health Organization declared monkeypox a global emergency, and on Thursday, the city of San Francisco declared a state of emergency. The virus, which can cause a rash and lesions, has been endemic in Africa for decades, but it’s now spreading in Europe, Canada and the U.S. In California, health officials have recorded roughly 650 cases, with more than 300 in the Bay Area. We talk to KQED’s Senior Engagement Editor Carly Severn\u003c/span> \u003cspan style=\"font-weight: 400\">about what you need to know about the virus and how it spreads.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Something Beautiful: AIDS Interfaith Memorial Chapel\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Keith Haring and Grace Cathedral may not be an obvious association, but the chapel perched atop Nob Hill has brought the two together in a powerful tribute to those who have died of AIDS. Below the soaring arched ceilings of the cathedral, an intimate chapel in the North Tower hosts Haring’s final major artwork, a book of remembrance and a panel from the AIDS quilt. As this week’s Something Beautiful, the AIDS Interfaith Memorial chapel is an enduring reminder of the fragile yet beautiful world we live in.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Sea Level Rise and Environmental Justice\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">In the coming decades, rising sea levels will cause portions of the San Francisco Bay to flood. One worst-case scenario predicts that the bay could rise by 10 feet by the end of this century. Not only will that flood homes, but new research is focusing on the industrial sites that will be affected — from hazardous waste treatment facilities to landfills and refineries. \u003c/span>\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\">Ezra David Romero, KQED climate reporter\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Arieann Harrison, Marie Harrison Community Foundation founder and CEO\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Eduardo Martinez, Richmond Vice Mayor (D)\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Bay Area Monkeypox Infections\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Last week, the World Health Organization declared monkeypox a global emergency, and on Thursday, the city of San Francisco declared a state of emergency. The virus, which can cause a rash and lesions, has been endemic in Africa for decades, but it’s now spreading in Europe, Canada and the U.S. In California, health officials have recorded roughly 650 cases, with more than 300 in the Bay Area. We talk to KQED’s Senior Engagement Editor Carly Severn\u003c/span> \u003cspan style=\"font-weight: 400\">about what you need to know about the virus and how it spreads.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Something Beautiful: AIDS Interfaith Memorial Chapel\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Keith Haring and Grace Cathedral may not be an obvious association, but the chapel perched atop Nob Hill has brought the two together in a powerful tribute to those who have died of AIDS. Below the soaring arched ceilings of the cathedral, an intimate chapel in the North Tower hosts Haring’s final major artwork, a book of remembrance and a panel from the AIDS quilt. As this week’s Something Beautiful, the AIDS Interfaith Memorial chapel is an enduring reminder of the fragile yet beautiful world we live in.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Doing the Work with W. Kamau Bell and Kate Schatz\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">We’ve talked about racism again and again, particularly during the past few years. And yet, how many of us deeply understand both the root causes of racism and the reasons systemic racism persists today? And how many of us know what to do to change the power dynamics built into the fabric of our country and create more equitable systems and relationships? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Well, the co-authors of the new book “DO THE WORK! An Antiracist Activity Book” have some suggestions in their irreverent and thought-provoking book, which includes hands-on activities like the “Check Your Privilege” checklist and a Nina Simone coloring page.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Co-author \u003c/span>\u003cb>Kate Schatz\u003c/b>\u003cspan style=\"font-weight: 400\"> is the New York Times-bestselling author of the “Rad Women” book series, who describes herself as an educator, public speaker and left-handed vegetarian Bay Area-born-and-bred queer feminist activist mama. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Co-author \u003c/span>\u003cb>W. Kamau Bell\u003c/b>\u003cspan style=\"font-weight: 400\"> also hails from the Bay Area, and is a comedian, political commentator and TV host, whose CNN series United Shades of America just launched its seventh season. He’s also the director of the Showtime docuseries “We Need To Talk About Cosby.” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Something Beautiful: Presidio Tunnel Tops Park\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">How do you create a new park in an already densely populated city? How about on top of the cars! Well, San Francisco has a new feather in its cap: 14 acres of national park created on top of the roofs of tunnels where traffic passes through on its way to the Golden Gate Bridge — that’s this week’s look at Something Beautiful.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Doing the Work with W. Kamau Bell and Kate Schatz\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">We’ve talked about racism again and again, particularly during the past few years. And yet, how many of us deeply understand both the root causes of racism and the reasons systemic racism persists today? And how many of us know what to do to change the power dynamics built into the fabric of our country and create more equitable systems and relationships? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Well, the co-authors of the new book “DO THE WORK! An Antiracist Activity Book” have some suggestions in their irreverent and thought-provoking book, which includes hands-on activities like the “Check Your Privilege” checklist and a Nina Simone coloring page.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Co-author \u003c/span>\u003cb>Kate Schatz\u003c/b>\u003cspan style=\"font-weight: 400\"> is the New York Times-bestselling author of the “Rad Women” book series, who describes herself as an educator, public speaker and left-handed vegetarian Bay Area-born-and-bred queer feminist activist mama. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Co-author \u003c/span>\u003cb>W. Kamau Bell\u003c/b>\u003cspan style=\"font-weight: 400\"> also hails from the Bay Area, and is a comedian, political commentator and TV host, whose CNN series United Shades of America just launched its seventh season. He’s also the director of the Showtime docuseries “We Need To Talk About Cosby.” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Something Beautiful: Presidio Tunnel Tops Park\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">How do you create a new park in an already densely populated city? How about on top of the cars! Well, San Francisco has a new feather in its cap: 14 acres of national park created on top of the roofs of tunnels where traffic passes through on its way to the Golden Gate Bridge — that’s this week’s look at Something Beautiful.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "I Told the Story of a Forgotten Chicano Revolutionary in a Podcast. Turns Out It Was My Story, Too",
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"content": "\u003cp>\u003cem>This week, \u003ca href=\"https://www.kqed.org/news/tag/tcrmag/\">The California Report Magazine\u003c/a> teamed up with LAist Studios to share an episode from the new season of their podcast “\u003ca href=\"https://podcasts.apple.com/us/podcast/1604648881\">Imperfect Paradise: The Forgotten Revolutionary\u003c/a>.” It’s the story of Oscar Gomez, a radio DJ and Chicano student leader during a time of explosive anti-immigrant political rhetoric in the early 1990s. Some people thought Gomez was going to be the next Cesar Chavez. But then he died near the UC Santa Barbara campus, under mysterious circumstances. \u003c/em>\u003c/p>\n\u003cp>\u003cem>KPCC reporter \u003ca href=\"https://laist.com/people/adolfo-guzman-lopez\">Adolfo Guzman-Lopez\u003c/a> first started digging into Gomez’s life and death back in 2019, when UC Davis awarded Gomez a posthumous degree. The new podcast investigates Gomez’s death and delves into his legacy — and reporting it prompted Guzman-Lopez to examine his own life, activism and journalism. \u003c/em>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]n September of 2021, I and a team of producers set out to find answers to the mysterious death of a 1990s Chicano college activist and college radio DJ. Over the next 10 months, as we interviewed people and looked for documents, I came to the realization that three-decade-old activism fundamentally shaped my three-decade-long journalism career.\u003c/p>\n\u003cp>It’s certainly not what I expected to find when I first introduced our audience to Oscar Gomez in 2019. Oscar was a scholar-athlete at Baldwin Park High School who graduated in the spring of 1990, then enrolled at UC Davis that fall. In that same year California was entering a red-hot political climate driven by a backlash against increased immigration.\u003c/p>\n\u003cp>On Nov. 17, 1994, four years after Oscar’s freshman year, he was found dead on a Santa Barbara beach, apparently after a fall from a bluff near the UC Santa Barbara campus. My story \u003ca href=\"https://laist.com/news/25-years-after-his-tragic-death-oscar-gomez-gets-his-college-degree\">detailed how he was awarded a posthumous degree\u003c/a> by UC Davis 25 years after his death.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Ralph Armbruster-Sandoval, professor of Chicana and Chicano studies, UCSB\"]‘I don’t think we’re at where we’re at today without these sacrifices and activism of the folks in the ’90s.’[/pullquote]I could have left the story there. I could have moved on. And I was about to move on. But the people I interviewed, Oscar’s activist friends, recounted stories of how Chicano college students resisted and reacted to the state’s politics, sometimes putting their own lives on the line, and that dislodged my own memories of my own activism in those years. In the past 30 years I’ve rarely talked publicly about how I was part of the early ’90s Chicano student movement, leading a student newspaper, producing a campus public affairs show and attending protests in California, some of the same protests that Oscar attended.\u003c/p>\n\u003cp>Those personal connections led me to dig deeper. I spent months searching for documents and engaging in a deep process of thinking about how the activist and journalism work I did back then affects me today. I similarly dug deep into Oscar’s college activism and found overlaps between Oscar’s work and mine. The results are in the eight-episode LAist Studios podcast “\u003ca href=\"https://laist.com/podcasts/imperfectparadise\">Imperfect Paradise: The Forgotten Revolutionary\u003c/a>.”\u003c/p>\n\u003ch2>Time traveling back to the early ’90s\u003c/h2>\n\u003cp>Doing this work has made me feel like I’ve been living in the years 1990-1994. Judith Segura-Mora was one of the people who triggered a waterfall of memories. She was the UC Davis student who recruited Oscar to a Chicano student organization on campus in 1990. We put two and two together and I recalled having seen her speak at the National Chicano Student Conference in Albuquerque in 1992. I paid my way there to write a story for Voz Fronteriza, the Chicano newspaper at UC San Diego. It was the first out-of-town reporting assignment in my fledgling reporting career.\u003c/p>\n\u003cp>I talked to Judith at a reception for the Gomez family a day before Oscar’s degree ceremony. She introduced me to Eddie Salas, who was DJing at the reception. He helped on Oscar’s Chicano public affairs radio show, “\u003ca href=\"https://soundcloud.com/user-532477086\">La Onda Xicana\u003c/a>” (also known as “La Onda Chicana”), and had many late-night conversations with Oscar about a variety of musicians. Hearing Eddie’s stories about “La Onda Chicana” took me back to my own public affairs college radio show, “Radio Califas.” My show sparked an interest in the new rock bands coming out of Mexico and Latin America, an interest that would lead me to write music and concert reviews for many years.\u003c/p>\n\u003cfigure id=\"attachment_11919735\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11919735\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station.jpg\" alt=\"young man behind a DJ booth wearing a leather jacket and glasses smiles into the camera as a record sits on a turntable in the foreground\" width=\"1172\" height=\"922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station.jpg 1172w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station-800x629.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station-1020x802.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station-160x126.jpg 160w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Adolfo Guzman-Lopez producing ‘Radio Califas’ at UCSD’s station, KSDT. \u003ccite>(Courtesy Adolfo Guzman-Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I found a box of cassettes of my show. I was surprised at the list of interviews: the film director Robert Rodriguez talking about his first film, the LA poet Marisela Norte, the renowned Chicana journalist Elizabeth Martínez, ethnic studies scholar George Lipsitz guest-DJing while he talked about 1960s and ’70s music. And I remembered that I convinced UC San Diego ethnic studies professor Jorge Mariscal to give me and the other students working on the show academic credit for our efforts.\u003c/p>\n\u003cp>The class was Lit/Writing 121 Reportage. Its four units and the A grade I earned raised my grade-point average enough to allow me to graduate from UC San Diego in 1993. Looking at the diversity of Latino arts, culture and politics on the show, I’d say our Radio Califas production team delivered.\u003c/p>\n\u003cp>As the podcast production team and I tried to find out what happened to Oscar for “Forgotten Revolutionary,” we heard many more stories of 1990s activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr>\nValentino Gutierrez, now a high school teacher in Pico Rivera, told us of going on hunger strike to expand Chicano studies while he was an undergrad at UC Santa Barbara. Margarita Berta-Avila, a fellow student and friend of Oscar’s at UC Davis, told us how strongly she felt about the Chicano movement despite not being Mexican American (her parents are from El Salvador and Peru). Other friends of Oscar’s, like Sabrina Enrique, talked of the sexism of the 1990s movement that I believed then was a thing of the past.\u003c/p>\n\u003ch2>The emotional toll of activism\u003c/h2>\n\u003cp>I heard former activists, including Judith, talk about the emotional toll so much activism took on her and her fellow student activists. She said her grades and mental health suffered. Mining my own feelings and looking at my academic transcript, I remembered how mine did, too.\u003c/p>\n\u003cp>“I don’t think we’re at where we’re at today without these sacrifices and activism of the folks in the ’90s,” said Ralph Armbruster-Sandoval, a professor of Chicana and Chicano studies at UCSB.\u003c/p>\n\u003cp>“I don’t feel like they’ve always been properly recognized.”\u003c/p>\n\u003cp>The activism of 1990s college students survives in memories and on mostly analog platforms. These students’ newspapers, film print photographs and cassette audio recordings remain in dusty boxes in attics and garages, and in some university archives, if they’ve survived at all.\u003c/p>\n\u003cp>And that contributes, Ambruster-Sandoval said, to 1990s Chicano student activism being a “lost period.”\u003c/p>\n\u003cfigure id=\"attachment_11919727\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11919727\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira.jpg\" alt=\"aerial black and white photo of young activists holding signs reading 'Columbus had no green card' and 'Chicano power' and 'brown is beautiful'\" width=\"1920\" height=\"1273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Activists hold signs at an anti-Columbus protest on Oct. 10, 1992, in San Ysidro. \u003ccite>(Courtesy Gene Chavira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For about 25 years, that’s what the early 1990s college activist experience felt like to me. Every time I take out copies of the UC San Diego newspaper, Voz Fronteriza, that contain my writings, the pages seem to be more yellow and more brittle. I have cassette copies of my radio shows that need to be digitized before time erases their content.\u003c/p>\n\u003cp>As I began a mainstream journalism career in the late 1990s, I heard people in my first newsroom say journalism that came out of activism and even ethnic journalism fell into the category of “advocacy journalism.” There is some truth to that. But the comments left a chilling effect that led me to put away my college journalism experiences and lock them up in favor of a traditional “objective” approach. I was at the very beginning of a paid journalism career and I didn’t want another target on my back.\u003c/p>\n\u003cp>But to tell Oscar’s story for the podcast, I had to tell my own story as a 1990s activist because he and I moved in some of the same activist circles and attended some of the same marches, including the protest in downtown Santa Barbara to support Chicano Studies Professor Rudy Acuña on Feb. 1, 1992. Acuña had been turned down for a faculty position in Chicano studies at UC Santa Barbara the year before and \u003ca href=\"https://www.latimes.com/archives/la-xpm-1992-09-26-me-1047-story.html\">would sue the university\u003c/a>, alleging bias against him for his activism, race and age. Acuña’s 1972 book, “\u003ca href=\"https://www.zinnedproject.org/materials/occupied-america-history-of-chicanos\">Occupied America: A History of Chicanos\u003c/a>,” and subsequent scholarship led many to consider him a founder of Chicano studies.\u003c/p>\n\u003cp>That’s where I met Oscar and talked to him briefly.\u003c/p>\n\u003cp>California’s red-hot politics brought Oscar, me and thousands of other students to those Santa Barbara streets.\u003c/p>\n\u003cfigure id=\"attachment_11919724\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11919724\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz.jpg\" alt=\"black and white photo of smiling students holding large banner reading 'voz fronteriza'\" width=\"1920\" height=\"1273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Adolfo Guzman-Lopez (second from right, in vest) and other San Diego college students who collaborated on the UC San Diego Chicano student newspaper, Voz Fronteriza, attend a rally in Santa Barbara on Feb. 1, 1992. The tall man in the center is Arnulfo Casillas, a Chicano education and cultural activist in Los Angeles and Santa Barbara who had worked on Voz Fronteriza in the late 1970s. \u003ccite>(Courtesy Gene Chavira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The state’s institutions were being stretched to the limit after large numbers of people immigrated to the U.S. in the late 1980s to escape \u003ca href=\"https://www.federalreservehistory.org/essays/latin-american-debt-crisis#:~:text=The%20spark%20for%20the%20crisis,at%20that%20point%20totaled%20%2480\">economic crisis in Mexico\u003c/a> and violent civil wars in Central America, both situations stoked by U.S. policies. Anti-immigrant groups responded with nativist proposals to take away the civil rights of immigrants. They successfully proposed ballot measures like \u003ca href=\"https://laist.com/news/proposition-187-what-you-need-to-know\">Proposition 187\u003c/a> that targeted undocumented immigrants and their kids. (A federal judge ruled in 1997 that \u003ca href=\"https://www.latimes.com/archives/la-xpm-1997-nov-15-mn-54053-story.html\">Prop. 187 was unconstitutional\u003c/a>.)\u003c/p>\n\u003cp>Those anti-immigrant sentiments led me, Oscar and many other Chicano students to feel like we each had a target on our backs. And that environment spilled onto campuses, too, as Agustín Orozco, my friend from UC San Diego, describes\u003ca href=\"https://www.sandiegouniontribune.com/opinion/commentary/story/2022-07-07/opinion-agustin-orozco-activism?fbclid=IwAR1kOhMJRMLU5L0uLSdABE1qxNyIxZJLDV4d1B5wltj8F6De93gQORvBZwM\"> in this essay\u003c/a>.\u003c/p>\n\u003ch2>Our shared, yet different, backgrounds\u003c/h2>\n\u003cp>Oscar and I were both Chicanos but different in many ways. He was a middle-class U.S. citizen raised in the suburbs of LA County. My mother cleaned houses for a living. She and I moved to San Diego when I was 7 years old. We overstayed our tourist visas and only received the authorization to stay permanently about a decade later, when the Immigration Reform and Control Act of 1986, most often described as amnesty, became law in my senior year of high school.\u003c/p>\n\u003cp>Oscar responded to the xenophobia by joining the Chicano student organization on campus, then producing a weekly college radio show that mixed various types of music with in-studio interviews and field recordings from protests and marches he attended in different parts of the state.\u003c/p>\n\u003cp>Before this podcast, my identity as a Chicano felt stuck in the 1990s. But I’ve adopted a fuller understanding of what Chicano, Chicana, Chicanx, Latino and Latinx activism has led to. I now see how the student activism of the 1990s helped lead to the intersectional coalition building of current times, and the exploration of Indigenous philosophy.\u003c/p>\n\u003cp>“The more that we could find out about these people and what they went through and, you know, even in this case, how they passed away or were killed, you know, the more we can share truth with people,” said Israel Calderon, a history teacher at Oscar’s alma mater, Baldwin Park High School, and a childhood friend of Oscar.\u003c/p>\n\u003ch2>‘Liberate your mind’\u003c/h2>\n\u003cp>That’s one of the reasons Calderon and some of \u003ca href=\"https://www.facebook.com/luchascholar/\">Oscar’s friends and relatives created a foundation in Oscar’s name\u003c/a> to raise money and hand out scholarships to Baldwin Park area high school students.\u003c/p>\n\u003cp>They’re more interested in promoting Oscar’s message to “liberate your mind” and help those who need help than they are to mythologize Oscar.\u003c/p>\n\u003cfigure id=\"attachment_11919737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11919737\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/OscarGomezProfileCrouching.jpg\" alt=\"A black and white photo of a young man in a white shirt and black cap crouches on an empty roadway\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/OscarGomezProfileCrouching.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/OscarGomezProfileCrouching-160x112.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Gomez in an undated photo, circa 1992. \u003ccite>(Courtesy KCSB)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A story that aired last year on NPR reminded me to keep my reporting focused on the human experience. It was a story about then-NPR host Lulu Garcia-Navarro leaving the network. The reporter described how Garcia-Navarro had \u003ca href=\"https://www.npr.org/sections/publiceditor/2006/06/05/5452082/are-npr-reporters-too-involved-in-their-stories\">defended her deeply personal interviewing and reporting approaches\u003c/a>.\u003c/p>\n\u003cp>“As journalists we do not check our humanity at the door. What we must do is try and give an accurate representation of what is happening before us to the best of our ability, leaving aside our prejudices,” she said.\u003c/p>\n\u003cp>How and whether I compartmentalize my humanity in the work I do is a question this podcast has raised for me and for others.\u003c/p>\n\u003cp>“Am I doing what we had set out to? Have I compromised?” said Margarita Berta-Avila, who’s now a leader with the California Faculty Association, the union for California State University professors.\u003c/p>\n\u003cp>She said thinking of Oscar, 28 years after his death, has been an opportunity to check her ideals from her college years and ask whether she’s become jaded.\u003c/p>\n\u003cp>I have spent 21 years telling people’s stories at Southern California Public Radio. I have, to the best of my ability, tried to tell stories about people living deep moments in their lives, and of policies that would affect people in one way or another.\u003c/p>\n\u003cp>I feel like I’ve kept a part of my humanity checked at the door at times, fearing that some kind of bias would creep in. There is no bias in connecting deeply with human experiences and letting my own humanity live in that moment, too.\u003c/p>\n\u003cp>For that insight, I have El Bandido de Aztlan, Oscar Gomez, to thank.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "I Told the Story of a Forgotten Chicano Revolutionary in a Podcast. Turns Out It Was My Story, Too | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, \u003ca href=\"https://www.kqed.org/news/tag/tcrmag/\">The California Report Magazine\u003c/a> teamed up with LAist Studios to share an episode from the new season of their podcast “\u003ca href=\"https://podcasts.apple.com/us/podcast/1604648881\">Imperfect Paradise: The Forgotten Revolutionary\u003c/a>.” It’s the story of Oscar Gomez, a radio DJ and Chicano student leader during a time of explosive anti-immigrant political rhetoric in the early 1990s. Some people thought Gomez was going to be the next Cesar Chavez. But then he died near the UC Santa Barbara campus, under mysterious circumstances. \u003c/em>\u003c/p>\n\u003cp>\u003cem>KPCC reporter \u003ca href=\"https://laist.com/people/adolfo-guzman-lopez\">Adolfo Guzman-Lopez\u003c/a> first started digging into Gomez’s life and death back in 2019, when UC Davis awarded Gomez a posthumous degree. The new podcast investigates Gomez’s death and delves into his legacy — and reporting it prompted Guzman-Lopez to examine his own life, activism and journalism. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n September of 2021, I and a team of producers set out to find answers to the mysterious death of a 1990s Chicano college activist and college radio DJ. Over the next 10 months, as we interviewed people and looked for documents, I came to the realization that three-decade-old activism fundamentally shaped my three-decade-long journalism career.\u003c/p>\n\u003cp>It’s certainly not what I expected to find when I first introduced our audience to Oscar Gomez in 2019. Oscar was a scholar-athlete at Baldwin Park High School who graduated in the spring of 1990, then enrolled at UC Davis that fall. In that same year California was entering a red-hot political climate driven by a backlash against increased immigration.\u003c/p>\n\u003cp>On Nov. 17, 1994, four years after Oscar’s freshman year, he was found dead on a Santa Barbara beach, apparently after a fall from a bluff near the UC Santa Barbara campus. My story \u003ca href=\"https://laist.com/news/25-years-after-his-tragic-death-oscar-gomez-gets-his-college-degree\">detailed how he was awarded a posthumous degree\u003c/a> by UC Davis 25 years after his death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I could have left the story there. I could have moved on. And I was about to move on. But the people I interviewed, Oscar’s activist friends, recounted stories of how Chicano college students resisted and reacted to the state’s politics, sometimes putting their own lives on the line, and that dislodged my own memories of my own activism in those years. In the past 30 years I’ve rarely talked publicly about how I was part of the early ’90s Chicano student movement, leading a student newspaper, producing a campus public affairs show and attending protests in California, some of the same protests that Oscar attended.\u003c/p>\n\u003cp>Those personal connections led me to dig deeper. I spent months searching for documents and engaging in a deep process of thinking about how the activist and journalism work I did back then affects me today. I similarly dug deep into Oscar’s college activism and found overlaps between Oscar’s work and mine. The results are in the eight-episode LAist Studios podcast “\u003ca href=\"https://laist.com/podcasts/imperfectparadise\">Imperfect Paradise: The Forgotten Revolutionary\u003c/a>.”\u003c/p>\n\u003ch2>Time traveling back to the early ’90s\u003c/h2>\n\u003cp>Doing this work has made me feel like I’ve been living in the years 1990-1994. Judith Segura-Mora was one of the people who triggered a waterfall of memories. She was the UC Davis student who recruited Oscar to a Chicano student organization on campus in 1990. We put two and two together and I recalled having seen her speak at the National Chicano Student Conference in Albuquerque in 1992. I paid my way there to write a story for Voz Fronteriza, the Chicano newspaper at UC San Diego. It was the first out-of-town reporting assignment in my fledgling reporting career.\u003c/p>\n\u003cp>I talked to Judith at a reception for the Gomez family a day before Oscar’s degree ceremony. She introduced me to Eddie Salas, who was DJing at the reception. He helped on Oscar’s Chicano public affairs radio show, “\u003ca href=\"https://soundcloud.com/user-532477086\">La Onda Xicana\u003c/a>” (also known as “La Onda Chicana”), and had many late-night conversations with Oscar about a variety of musicians. Hearing Eddie’s stories about “La Onda Chicana” took me back to my own public affairs college radio show, “Radio Califas.” My show sparked an interest in the new rock bands coming out of Mexico and Latin America, an interest that would lead me to write music and concert reviews for many years.\u003c/p>\n\u003cfigure id=\"attachment_11919735\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11919735\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station.jpg\" alt=\"young man behind a DJ booth wearing a leather jacket and glasses smiles into the camera as a record sits on a turntable in the foreground\" width=\"1172\" height=\"922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station.jpg 1172w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station-800x629.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station-1020x802.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-producing-Radio-Califas-at-UCSDs-station-160x126.jpg 160w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Adolfo Guzman-Lopez producing ‘Radio Califas’ at UCSD’s station, KSDT. \u003ccite>(Courtesy Adolfo Guzman-Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I found a box of cassettes of my show. I was surprised at the list of interviews: the film director Robert Rodriguez talking about his first film, the LA poet Marisela Norte, the renowned Chicana journalist Elizabeth Martínez, ethnic studies scholar George Lipsitz guest-DJing while he talked about 1960s and ’70s music. And I remembered that I convinced UC San Diego ethnic studies professor Jorge Mariscal to give me and the other students working on the show academic credit for our efforts.\u003c/p>\n\u003cp>The class was Lit/Writing 121 Reportage. Its four units and the A grade I earned raised my grade-point average enough to allow me to graduate from UC San Diego in 1993. Looking at the diversity of Latino arts, culture and politics on the show, I’d say our Radio Califas production team delivered.\u003c/p>\n\u003cp>As the podcast production team and I tried to find out what happened to Oscar for “Forgotten Revolutionary,” we heard many more stories of 1990s activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nValentino Gutierrez, now a high school teacher in Pico Rivera, told us of going on hunger strike to expand Chicano studies while he was an undergrad at UC Santa Barbara. Margarita Berta-Avila, a fellow student and friend of Oscar’s at UC Davis, told us how strongly she felt about the Chicano movement despite not being Mexican American (her parents are from El Salvador and Peru). Other friends of Oscar’s, like Sabrina Enrique, talked of the sexism of the 1990s movement that I believed then was a thing of the past.\u003c/p>\n\u003ch2>The emotional toll of activism\u003c/h2>\n\u003cp>I heard former activists, including Judith, talk about the emotional toll so much activism took on her and her fellow student activists. She said her grades and mental health suffered. Mining my own feelings and looking at my academic transcript, I remembered how mine did, too.\u003c/p>\n\u003cp>“I don’t think we’re at where we’re at today without these sacrifices and activism of the folks in the ’90s,” said Ralph Armbruster-Sandoval, a professor of Chicana and Chicano studies at UCSB.\u003c/p>\n\u003cp>“I don’t feel like they’ve always been properly recognized.”\u003c/p>\n\u003cp>The activism of 1990s college students survives in memories and on mostly analog platforms. These students’ newspapers, film print photographs and cassette audio recordings remain in dusty boxes in attics and garages, and in some university archives, if they’ve survived at all.\u003c/p>\n\u003cp>And that contributes, Ambruster-Sandoval said, to 1990s Chicano student activism being a “lost period.”\u003c/p>\n\u003cfigure id=\"attachment_11919727\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11919727\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira.jpg\" alt=\"aerial black and white photo of young activists holding signs reading 'Columbus had no green card' and 'Chicano power' and 'brown is beautiful'\" width=\"1920\" height=\"1273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/San-Ysidro-Anti-Columbus-protest-October-10-1992-Photo-by-Gene-Chavira-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Activists hold signs at an anti-Columbus protest on Oct. 10, 1992, in San Ysidro. \u003ccite>(Courtesy Gene Chavira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For about 25 years, that’s what the early 1990s college activist experience felt like to me. Every time I take out copies of the UC San Diego newspaper, Voz Fronteriza, that contain my writings, the pages seem to be more yellow and more brittle. I have cassette copies of my radio shows that need to be digitized before time erases their content.\u003c/p>\n\u003cp>As I began a mainstream journalism career in the late 1990s, I heard people in my first newsroom say journalism that came out of activism and even ethnic journalism fell into the category of “advocacy journalism.” There is some truth to that. But the comments left a chilling effect that led me to put away my college journalism experiences and lock them up in favor of a traditional “objective” approach. I was at the very beginning of a paid journalism career and I didn’t want another target on my back.\u003c/p>\n\u003cp>But to tell Oscar’s story for the podcast, I had to tell my own story as a 1990s activist because he and I moved in some of the same activist circles and attended some of the same marches, including the protest in downtown Santa Barbara to support Chicano Studies Professor Rudy Acuña on Feb. 1, 1992. Acuña had been turned down for a faculty position in Chicano studies at UC Santa Barbara the year before and \u003ca href=\"https://www.latimes.com/archives/la-xpm-1992-09-26-me-1047-story.html\">would sue the university\u003c/a>, alleging bias against him for his activism, race and age. Acuña’s 1972 book, “\u003ca href=\"https://www.zinnedproject.org/materials/occupied-america-history-of-chicanos\">Occupied America: A History of Chicanos\u003c/a>,” and subsequent scholarship led many to consider him a founder of Chicano studies.\u003c/p>\n\u003cp>That’s where I met Oscar and talked to him briefly.\u003c/p>\n\u003cp>California’s red-hot politics brought Oscar, me and thousands of other students to those Santa Barbara streets.\u003c/p>\n\u003cfigure id=\"attachment_11919724\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11919724\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz.jpg\" alt=\"black and white photo of smiling students holding large banner reading 'voz fronteriza'\" width=\"1920\" height=\"1273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/Adolfo-Guzman-Lopez-Voz-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Adolfo Guzman-Lopez (second from right, in vest) and other San Diego college students who collaborated on the UC San Diego Chicano student newspaper, Voz Fronteriza, attend a rally in Santa Barbara on Feb. 1, 1992. The tall man in the center is Arnulfo Casillas, a Chicano education and cultural activist in Los Angeles and Santa Barbara who had worked on Voz Fronteriza in the late 1970s. \u003ccite>(Courtesy Gene Chavira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The state’s institutions were being stretched to the limit after large numbers of people immigrated to the U.S. in the late 1980s to escape \u003ca href=\"https://www.federalreservehistory.org/essays/latin-american-debt-crisis#:~:text=The%20spark%20for%20the%20crisis,at%20that%20point%20totaled%20%2480\">economic crisis in Mexico\u003c/a> and violent civil wars in Central America, both situations stoked by U.S. policies. Anti-immigrant groups responded with nativist proposals to take away the civil rights of immigrants. They successfully proposed ballot measures like \u003ca href=\"https://laist.com/news/proposition-187-what-you-need-to-know\">Proposition 187\u003c/a> that targeted undocumented immigrants and their kids. (A federal judge ruled in 1997 that \u003ca href=\"https://www.latimes.com/archives/la-xpm-1997-nov-15-mn-54053-story.html\">Prop. 187 was unconstitutional\u003c/a>.)\u003c/p>\n\u003cp>Those anti-immigrant sentiments led me, Oscar and many other Chicano students to feel like we each had a target on our backs. And that environment spilled onto campuses, too, as Agustín Orozco, my friend from UC San Diego, describes\u003ca href=\"https://www.sandiegouniontribune.com/opinion/commentary/story/2022-07-07/opinion-agustin-orozco-activism?fbclid=IwAR1kOhMJRMLU5L0uLSdABE1qxNyIxZJLDV4d1B5wltj8F6De93gQORvBZwM\"> in this essay\u003c/a>.\u003c/p>\n\u003ch2>Our shared, yet different, backgrounds\u003c/h2>\n\u003cp>Oscar and I were both Chicanos but different in many ways. He was a middle-class U.S. citizen raised in the suburbs of LA County. My mother cleaned houses for a living. She and I moved to San Diego when I was 7 years old. We overstayed our tourist visas and only received the authorization to stay permanently about a decade later, when the Immigration Reform and Control Act of 1986, most often described as amnesty, became law in my senior year of high school.\u003c/p>\n\u003cp>Oscar responded to the xenophobia by joining the Chicano student organization on campus, then producing a weekly college radio show that mixed various types of music with in-studio interviews and field recordings from protests and marches he attended in different parts of the state.\u003c/p>\n\u003cp>Before this podcast, my identity as a Chicano felt stuck in the 1990s. But I’ve adopted a fuller understanding of what Chicano, Chicana, Chicanx, Latino and Latinx activism has led to. I now see how the student activism of the 1990s helped lead to the intersectional coalition building of current times, and the exploration of Indigenous philosophy.\u003c/p>\n\u003cp>“The more that we could find out about these people and what they went through and, you know, even in this case, how they passed away or were killed, you know, the more we can share truth with people,” said Israel Calderon, a history teacher at Oscar’s alma mater, Baldwin Park High School, and a childhood friend of Oscar.\u003c/p>\n\u003ch2>‘Liberate your mind’\u003c/h2>\n\u003cp>That’s one of the reasons Calderon and some of \u003ca href=\"https://www.facebook.com/luchascholar/\">Oscar’s friends and relatives created a foundation in Oscar’s name\u003c/a> to raise money and hand out scholarships to Baldwin Park area high school students.\u003c/p>\n\u003cp>They’re more interested in promoting Oscar’s message to “liberate your mind” and help those who need help than they are to mythologize Oscar.\u003c/p>\n\u003cfigure id=\"attachment_11919737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11919737\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/07/OscarGomezProfileCrouching.jpg\" alt=\"A black and white photo of a young man in a white shirt and black cap crouches on an empty roadway\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/OscarGomezProfileCrouching.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/07/OscarGomezProfileCrouching-160x112.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Gomez in an undated photo, circa 1992. \u003ccite>(Courtesy KCSB)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A story that aired last year on NPR reminded me to keep my reporting focused on the human experience. It was a story about then-NPR host Lulu Garcia-Navarro leaving the network. The reporter described how Garcia-Navarro had \u003ca href=\"https://www.npr.org/sections/publiceditor/2006/06/05/5452082/are-npr-reporters-too-involved-in-their-stories\">defended her deeply personal interviewing and reporting approaches\u003c/a>.\u003c/p>\n\u003cp>“As journalists we do not check our humanity at the door. What we must do is try and give an accurate representation of what is happening before us to the best of our ability, leaving aside our prejudices,” she said.\u003c/p>\n\u003cp>How and whether I compartmentalize my humanity in the work I do is a question this podcast has raised for me and for others.\u003c/p>\n\u003cp>“Am I doing what we had set out to? Have I compromised?” said Margarita Berta-Avila, who’s now a leader with the California Faculty Association, the union for California State University professors.\u003c/p>\n\u003cp>She said thinking of Oscar, 28 years after his death, has been an opportunity to check her ideals from her college years and ask whether she’s become jaded.\u003c/p>\n\u003cp>I have spent 21 years telling people’s stories at Southern California Public Radio. I have, to the best of my ability, tried to tell stories about people living deep moments in their lives, and of policies that would affect people in one way or another.\u003c/p>\n\u003cp>I feel like I’ve kept a part of my humanity checked at the door at times, fearing that some kind of bias would creep in. There is no bias in connecting deeply with human experiences and letting my own humanity live in that moment, too.\u003c/p>\n\u003cp>For that insight, I have El Bandido de Aztlan, Oscar Gomez, to thank.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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