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"slug": "meet-the-three-women-behind-an-indigenous-land-back-effort-to-reclaim-an-sf-peninsula-farm",
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"content": "\u003cp>\u003cem>The California Report Magazine’s Sasha Khokha and Izzy Bloom visited a 38-acre farm in San Gregorio, 40 miles west of San José, to follow a new project aimed at returning land to the Ramaytush, the Indigenous people of the San Francisco Peninsula. The project is spearheaded by \u003ca href=\"https://www.deepmedicinecircle.org/\">Deep Medicine Circle\u003c/a>, a nonprofit group led by women of color, whose goal, according to its founder Rupa Marya, is to “heal the wounds of colonialism through food, medicine, story, learning and restoration.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>We spoke with three of the women leading this land back effort.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11911820\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911820 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/IMG_6204-800x1067.jpg\" alt=\"A woman holding a flat stick standing in field, behind the skull of an elk.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramaytush elder Cata Gomes on the Te Kwe A’naa Warep farm in San Gregorio on Feb. 13, 2022. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Catalina Gomes: Ramaytush Indigenous elder\u003c/h3>\n\u003cp>When Catalina Gomes was growing up in San José, she knew very little about her Indigenous roots. Gomes said her mother and grandmother wanted to protect her from the “trauma that we’ve suffered in the last 400 years,” so they didn’t speak about their heritage. The only thing they told her when she was a child was that she was a 12th-generation Californian. But Gomes said she always had a strong intuition that this wasn’t the full story.\u003c/p>\n\u003cp>As a young adult, Gomes learned she was descended from the Salinan Tribe, from the Salinas Valley and the Santa Lucia coastal range. Then, four years ago, Gomes’s cousin unearthed records from the Spanish missions that revealed their family also has Ramaytush ancestry\u003cem>.\u003c/em> In those records, they discovered an ancestor named Muchia Te’. The Spanish recorded her baptismal date as Oct. 2, 1782, when she was about 50 years old.\u003c/p>\n\u003cp>Gomes said she feels lucky to know Muchia Te’s Indigenous name, because it was common for the Spanish to record only the baptismal names of Indigenous people. Gomes is now creating a land trust, called the “Muchia Te’ Indigenous Land Trust,” named after her ancestors. The 38 acres of farmland, which are currently being held by \u003ca href=\"http://openspacetrust.org\">Peninsula Open Space Trust\u003c/a>, will soon be returned to Gomes and the Ramaytush.\u003c/p>\n\u003cfigure id=\"attachment_11911825\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/DMC_doctors--scaled-e1650672672633.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911825 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/DMC_doctors--scaled-e1650672672633.jpeg\" alt=\"People gather in a farm structure, next to boxes of potatoes.\" width=\"1920\" height=\"1276\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">UCSF pediatricians-in-training learn about Indigenous foods from farm director Jibril Kyser at the Ramaytush Te Kwe A’naa Warep farm, on Jan. 30, 2022. \u003ccite>(Courtesy of Rupa Marya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On May 1, Deep Medicine Circle will officially rename the farm Te Kwe A’naa Warep, which means “honoring Mother Earth” in the Ramaytush language.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plans for the farm include harvesting traditional indigenous herbs and medicines, setting up an herbal apothecary, and farming nutritious, organic food that will be available, for free, to communities in need.\u003c/p>\n\u003cp>\u003cstrong>What she hopes this project will achieve\u003c/strong>:\u003cstrong>\u003cbr>\n\u003c/strong>“We’re here to heal the land, and the land is here to heal us. So it’s a copacetic relationship that we have with the land and the creatures here, the creek, the plants. We’re all here working together, struggling to bring forward a better future than what we’ve been exposed to. … We’re hoping to grow this project and expand and get other land to hopefully get another property that we could open a health center and have an alternative approach to healing our bodies that have been so traumatized after the last 400 years.”\u003c/p>\n\u003cp>\u003cstrong>What brings her joy\u003c/strong>:\u003cbr>\n“It is bringing me great joy to have a positive goal to look forward to. … It’s been a complete change of my mindset to go from COVID being the focus, to focusing on this land, healing the land and having the land heal us.”\u003c/p>\n\u003cfigure id=\"attachment_11911821\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911821 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/DMC_rupa-with-guitar-800x1071.jpeg\" alt=\"A woman with long hair in what looks like a wooden barn playing guitar.\" width=\"800\" height=\"1071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-800x1071.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1020x1365.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-160x214.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1148x1536.jpeg 1148w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1530x2048.jpeg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1920x2570.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-scaled.jpeg 1913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician, physician and farmer Rupa Marya sowing seeds and songs in the barn at Te Kwe A’naa Warep farm. \u003ccite>(Bija Milagro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rupa Marya: executive instigator and founder of Deep Medicine Circle\u003c/h2>\n\u003cp>When Rupa Marya was 5 years old, she told her kindergarten teacher that she wanted to be “a ballerina and a surgeon.” Even then, she had a strong desire to heal. Art, she said, was a way for her to process and digest her experiences. Through art, everything made sense to her.\u003c/p>\n\u003cp>Marya’s career path didn’t veer too far from the one she imagined for herself as a child: She’s now an activist, physician and musician — the lead singer of \u003ca href=\"https://www.theaprilfishes.com/\">Rupa and the April Fishes\u003c/a>. The polyglot band performs original songs in French, Spanish, English and Hindi, ranging in genre from jazz to punk to reggae. Their music also highlights Indigenous rights and social justice issues, like police violence and racism in the medical system.\u003c/p>\n\u003cp>About 15 years ago, Marya, who also is an \u003ca href=\"https://profiles.ucsf.edu/rupa.marya\">associate professor of medicine\u003c/a> at UCSF, noticed many young people coming to see her with stomach problems, and she became fascinated with stool cultures. She made the connection between inflammation of the human gut and the way the soil and earth’s systems are “inflamed.” Marya sought to reject capitalist food systems by growing nutritious food to give away to oppressed groups, an effort that led her to create the nonprofit Deep Medicine Circle, which is managing the farm and oversees the Land Back Solidarity Project.\u003c/p>\n\u003cp>[aside label=\"related coverage\" tag=\"land-back\"]The group is focused on \u003ca href=\"https://www.deepmedicinecircle.org/restore\">growing organic, nutritious food\u003c/a> using a blend of agroecology and Indigenous traditional ecological knowledge. It’s also \u003ca href=\"https://www.deepmedicinecircle.org/nourish\">decommodifying food\u003c/a> by giving away what it grows to marginalized communities, partnering with organizations like the American Indian Cultural District and Tenderloin Neighborhood Development Corporation in San Francisco. The group also \u003ca href=\"https://www.deepmedicinecircle.org/heal\">invites health care workers\u003c/a> to visit the farm and heal from the trauma of the pandemic.\u003c/p>\n\u003cp>Marya also co-authored the book “\u003ca href=\"https://bookshop.org/books/inflamed-deep-medicine-and-the-anatomy-of-injustice/9780374602512\">Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/a>” with economist Raj Patel, exploring how the earth’s gut — our soil — is causing diseases in the human gut and affecting community health.\u003c/p>\n\u003cp>\u003cstrong>What she hopes this project will achieve\u003c/strong>:\u003cbr>\n“I would like to turn around and look at these hills and see tule elk grazing. I would love to see beaver back on the land, and the creek full of salmon, and the creek healthy. I would love to know that that whole valley and watershed has eliminated all the synthetic pesticides and fertilizers that are harmful to the soil. I would love to see young people learning this work, and people from many different cultures coming together to learn about Ramaytush heritage and culture and land stewardship and this model of farming. I would love to see people coming there to participate in growing food for our communities.”\u003c/p>\n\u003cp>\u003cb>What brings her joy\u003c/b>:\u003cbr>\n“Knowing that I’m participating with my family in a great awakening and a great healing. My children aren’t waiting until they’re 20 to learn the truth about what happened to these lands, and they’re actively engaged in participating in that healing work. … Being together in this work in community is probably one of the best feelings I’ve had in a long time.”\u003c/p>\n\u003cfigure id=\"attachment_11911822\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/IMG_6196-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911822 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/IMG_6196-scaled.jpg\" alt=\"A women with a cap standing outside next to a barn, and wearing a t-shirt that says 'Phenomenally Indigenous.'\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sage La Pena, Deep Medicine Circle’s director of traditional ecological knowledge and an Indigenous plant medicine doctor, at the Te Kwe A’naa Warep farm on Feb. 13, 2022. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sage La Pena: Nomtipom Wintu ethnobotanist and certified medicinal herbalist\u003c/h2>\n\u003cp>When she was a child, Sage La Pena began working with and learning from Mabel McKay, a \u003ca href=\"https://www.californiamuseum.org/inductee/mabel-mckay\">globally respected doctor and basket weaver \u003c/a>from the Pomo and Wintun tribes of Northern California. La Pena later discovered that what McKay had taught her also is considered “ethnobotany,” the study of traditional customs, and the medicinal, religious and other uses of plants, and went on to teach at the \u003ca href=\"https://cshs.com/\">California School of Herbal Studies\u003c/a>, founded by herbalist Rosemary Gladstar.\u003c/p>\n\u003cp>“They told me I was an herbalist, and I didn’t know what an herbalist was,” La Pena said. “I thought the knowledge that was given and passes through me now was the norm.”\u003c/p>\n\u003cp>La Pena now works with Deep Medicine Circle to preserve and pass on traditional ecological knowledge. She’s an expert in the medicinal uses of native plants, like elderberry and stinging nettle, which are grown and harvested on the farm.\u003c/p>\n\u003cp>\u003cb>What she hopes this project will achieve\u003c/b>:\u003cb>\u003cbr>\n\u003c/b>“I feel a very close affinity to the plant life and the people, in turn. … We want beaver here and elk to participate in these landscapes. That is their birthright. And they’ve been kept from these places. So if there’s something that as a two-legged I can do to help that process, that is as it should be with balance, then that’s why I’m here. To do that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>What brings her joy\u003c/b>:\u003cb>\u003cbr>\n\u003c/b>“My daughter Roxy, who’s my youngest birth child of five, and my grandchildren. I see within these generations, open minds that are often clouded in adults. … Just seeing how they’re so open and willing to learn. The vitality that they share with us, it’s very joyful.”\u003c/p>\n\n",
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"excerpt": "The 38-acre farm project in San Gregorio is aimed at returning land to the Ramaytush, the Indigenous people of the San Francisco Peninsula.",
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"title": "Meet Three of the Women Behind an Indigenous Land Back Effort to Reclaim an SF Peninsula Farm | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The California Report Magazine’s Sasha Khokha and Izzy Bloom visited a 38-acre farm in San Gregorio, 40 miles west of San José, to follow a new project aimed at returning land to the Ramaytush, the Indigenous people of the San Francisco Peninsula. The project is spearheaded by \u003ca href=\"https://www.deepmedicinecircle.org/\">Deep Medicine Circle\u003c/a>, a nonprofit group led by women of color, whose goal, according to its founder Rupa Marya, is to “heal the wounds of colonialism through food, medicine, story, learning and restoration.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>We spoke with three of the women leading this land back effort.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11911820\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911820 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/IMG_6204-800x1067.jpg\" alt=\"A woman holding a flat stick standing in field, behind the skull of an elk.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramaytush elder Cata Gomes on the Te Kwe A’naa Warep farm in San Gregorio on Feb. 13, 2022. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Catalina Gomes: Ramaytush Indigenous elder\u003c/h3>\n\u003cp>When Catalina Gomes was growing up in San José, she knew very little about her Indigenous roots. Gomes said her mother and grandmother wanted to protect her from the “trauma that we’ve suffered in the last 400 years,” so they didn’t speak about their heritage. The only thing they told her when she was a child was that she was a 12th-generation Californian. But Gomes said she always had a strong intuition that this wasn’t the full story.\u003c/p>\n\u003cp>As a young adult, Gomes learned she was descended from the Salinan Tribe, from the Salinas Valley and the Santa Lucia coastal range. Then, four years ago, Gomes’s cousin unearthed records from the Spanish missions that revealed their family also has Ramaytush ancestry\u003cem>.\u003c/em> In those records, they discovered an ancestor named Muchia Te’. The Spanish recorded her baptismal date as Oct. 2, 1782, when she was about 50 years old.\u003c/p>\n\u003cp>Gomes said she feels lucky to know Muchia Te’s Indigenous name, because it was common for the Spanish to record only the baptismal names of Indigenous people. Gomes is now creating a land trust, called the “Muchia Te’ Indigenous Land Trust,” named after her ancestors. The 38 acres of farmland, which are currently being held by \u003ca href=\"http://openspacetrust.org\">Peninsula Open Space Trust\u003c/a>, will soon be returned to Gomes and the Ramaytush.\u003c/p>\n\u003cfigure id=\"attachment_11911825\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/DMC_doctors--scaled-e1650672672633.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911825 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/DMC_doctors--scaled-e1650672672633.jpeg\" alt=\"People gather in a farm structure, next to boxes of potatoes.\" width=\"1920\" height=\"1276\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">UCSF pediatricians-in-training learn about Indigenous foods from farm director Jibril Kyser at the Ramaytush Te Kwe A’naa Warep farm, on Jan. 30, 2022. \u003ccite>(Courtesy of Rupa Marya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On May 1, Deep Medicine Circle will officially rename the farm Te Kwe A’naa Warep, which means “honoring Mother Earth” in the Ramaytush language.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plans for the farm include harvesting traditional indigenous herbs and medicines, setting up an herbal apothecary, and farming nutritious, organic food that will be available, for free, to communities in need.\u003c/p>\n\u003cp>\u003cstrong>What she hopes this project will achieve\u003c/strong>:\u003cstrong>\u003cbr>\n\u003c/strong>“We’re here to heal the land, and the land is here to heal us. So it’s a copacetic relationship that we have with the land and the creatures here, the creek, the plants. We’re all here working together, struggling to bring forward a better future than what we’ve been exposed to. … We’re hoping to grow this project and expand and get other land to hopefully get another property that we could open a health center and have an alternative approach to healing our bodies that have been so traumatized after the last 400 years.”\u003c/p>\n\u003cp>\u003cstrong>What brings her joy\u003c/strong>:\u003cbr>\n“It is bringing me great joy to have a positive goal to look forward to. … It’s been a complete change of my mindset to go from COVID being the focus, to focusing on this land, healing the land and having the land heal us.”\u003c/p>\n\u003cfigure id=\"attachment_11911821\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911821 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/DMC_rupa-with-guitar-800x1071.jpeg\" alt=\"A woman with long hair in what looks like a wooden barn playing guitar.\" width=\"800\" height=\"1071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-800x1071.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1020x1365.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-160x214.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1148x1536.jpeg 1148w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1530x2048.jpeg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1920x2570.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-scaled.jpeg 1913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician, physician and farmer Rupa Marya sowing seeds and songs in the barn at Te Kwe A’naa Warep farm. \u003ccite>(Bija Milagro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rupa Marya: executive instigator and founder of Deep Medicine Circle\u003c/h2>\n\u003cp>When Rupa Marya was 5 years old, she told her kindergarten teacher that she wanted to be “a ballerina and a surgeon.” Even then, she had a strong desire to heal. Art, she said, was a way for her to process and digest her experiences. Through art, everything made sense to her.\u003c/p>\n\u003cp>Marya’s career path didn’t veer too far from the one she imagined for herself as a child: She’s now an activist, physician and musician — the lead singer of \u003ca href=\"https://www.theaprilfishes.com/\">Rupa and the April Fishes\u003c/a>. The polyglot band performs original songs in French, Spanish, English and Hindi, ranging in genre from jazz to punk to reggae. Their music also highlights Indigenous rights and social justice issues, like police violence and racism in the medical system.\u003c/p>\n\u003cp>About 15 years ago, Marya, who also is an \u003ca href=\"https://profiles.ucsf.edu/rupa.marya\">associate professor of medicine\u003c/a> at UCSF, noticed many young people coming to see her with stomach problems, and she became fascinated with stool cultures. She made the connection between inflammation of the human gut and the way the soil and earth’s systems are “inflamed.” Marya sought to reject capitalist food systems by growing nutritious food to give away to oppressed groups, an effort that led her to create the nonprofit Deep Medicine Circle, which is managing the farm and oversees the Land Back Solidarity Project.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The group is focused on \u003ca href=\"https://www.deepmedicinecircle.org/restore\">growing organic, nutritious food\u003c/a> using a blend of agroecology and Indigenous traditional ecological knowledge. It’s also \u003ca href=\"https://www.deepmedicinecircle.org/nourish\">decommodifying food\u003c/a> by giving away what it grows to marginalized communities, partnering with organizations like the American Indian Cultural District and Tenderloin Neighborhood Development Corporation in San Francisco. The group also \u003ca href=\"https://www.deepmedicinecircle.org/heal\">invites health care workers\u003c/a> to visit the farm and heal from the trauma of the pandemic.\u003c/p>\n\u003cp>Marya also co-authored the book “\u003ca href=\"https://bookshop.org/books/inflamed-deep-medicine-and-the-anatomy-of-injustice/9780374602512\">Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/a>” with economist Raj Patel, exploring how the earth’s gut — our soil — is causing diseases in the human gut and affecting community health.\u003c/p>\n\u003cp>\u003cstrong>What she hopes this project will achieve\u003c/strong>:\u003cbr>\n“I would like to turn around and look at these hills and see tule elk grazing. I would love to see beaver back on the land, and the creek full of salmon, and the creek healthy. I would love to know that that whole valley and watershed has eliminated all the synthetic pesticides and fertilizers that are harmful to the soil. I would love to see young people learning this work, and people from many different cultures coming together to learn about Ramaytush heritage and culture and land stewardship and this model of farming. I would love to see people coming there to participate in growing food for our communities.”\u003c/p>\n\u003cp>\u003cb>What brings her joy\u003c/b>:\u003cbr>\n“Knowing that I’m participating with my family in a great awakening and a great healing. My children aren’t waiting until they’re 20 to learn the truth about what happened to these lands, and they’re actively engaged in participating in that healing work. … Being together in this work in community is probably one of the best feelings I’ve had in a long time.”\u003c/p>\n\u003cfigure id=\"attachment_11911822\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/IMG_6196-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911822 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/IMG_6196-scaled.jpg\" alt=\"A women with a cap standing outside next to a barn, and wearing a t-shirt that says 'Phenomenally Indigenous.'\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sage La Pena, Deep Medicine Circle’s director of traditional ecological knowledge and an Indigenous plant medicine doctor, at the Te Kwe A’naa Warep farm on Feb. 13, 2022. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sage La Pena: Nomtipom Wintu ethnobotanist and certified medicinal herbalist\u003c/h2>\n\u003cp>When she was a child, Sage La Pena began working with and learning from Mabel McKay, a \u003ca href=\"https://www.californiamuseum.org/inductee/mabel-mckay\">globally respected doctor and basket weaver \u003c/a>from the Pomo and Wintun tribes of Northern California. La Pena later discovered that what McKay had taught her also is considered “ethnobotany,” the study of traditional customs, and the medicinal, religious and other uses of plants, and went on to teach at the \u003ca href=\"https://cshs.com/\">California School of Herbal Studies\u003c/a>, founded by herbalist Rosemary Gladstar.\u003c/p>\n\u003cp>“They told me I was an herbalist, and I didn’t know what an herbalist was,” La Pena said. “I thought the knowledge that was given and passes through me now was the norm.”\u003c/p>\n\u003cp>La Pena now works with Deep Medicine Circle to preserve and pass on traditional ecological knowledge. She’s an expert in the medicinal uses of native plants, like elderberry and stinging nettle, which are grown and harvested on the farm.\u003c/p>\n\u003cp>\u003cb>What she hopes this project will achieve\u003c/b>:\u003cb>\u003cbr>\n\u003c/b>“I feel a very close affinity to the plant life and the people, in turn. … We want beaver here and elk to participate in these landscapes. That is their birthright. And they’ve been kept from these places. So if there’s something that as a two-legged I can do to help that process, that is as it should be with balance, then that’s why I’m here. To do that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What brings her joy\u003c/b>:\u003cb>\u003cbr>\n\u003c/b>“My daughter Roxy, who’s my youngest birth child of five, and my grandchildren. I see within these generations, open minds that are often clouded in adults. … Just seeing how they’re so open and willing to learn. The vitality that they share with us, it’s very joyful.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>California’s Water Explained\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">California works hard to provide water throughout the state — through major aqueduct projects, dams and reservoirs. Still, the supply of water never seems to quench our increasing thirst. Why is that? \u003c/span>\u003cspan style=\"font-weight: 400\">KQED reporters Katherine Shok and Ezra David Romero teamed up with graphic designers \u003c/span>\u003cspan style=\"font-weight: 400\">Kelly Heigert and Rebecca Kao to explain.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>CalEPA Secretary Jared Blumenfeld\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Earlier this month, the California Legislative Analyst’s Office released a six-part report updating the impacts of climate change on the state. We talk to the head of the state’s environmental protection agency, Jared Blumenfeld, about how the state is addressing our most urgent problems.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guest: Jared Blumenfeld, California secretary for environmental protection\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Sonoma County’s Sustainable Vineyards\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Sonoma County, known for its fine wines, has become a leader in sustainable agriculture. Ninety-nine percent of the county’s wine grapes have been certified as grown under sustainable practices, through an innovative program launched by Karissa Kruse, president of Sonoma County Winegrowers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guest: Karissa Kruse, Sonoma County Winegrowers president\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Something Beautiful: Hayward Japanese Gardens\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week’s Something Beautiful is a visit to a serene garden nestled in the East Bay. The Hayward Japanese Gardens follows traditional design principles while using California native stone and plants to create its manicured gardens and sculpted trees.\u003c/span>\u003c/p>\n\n",
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"title": "Earth Day Special: CA's Water Explained | Jared Blumenfeld | Sustainable Wine | KQED",
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"slug": "phuong-tam-ngoi-sao-nhac-rock",
"title": "Phương Tâm ngôi sao nhạc Rock",
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"content": "\u003cp>\u003cem>Editor’s note: The following is a Vietnamese translation of a story KQED originally published on March 11, 2022. Because KQED serves the Bay Area, home to one of the largest Vietnamese communities outside of Vietnam, we wanted to ensure this multimedia story on music and history was accessible to audiences both in Vietnam and across the diaspora.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Thank you to Trần Đình Thanh Lam and Nguyễn Sĩ Hạnh for the translation.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/news/11907898/phuong-tam-sixties-star-of-vietnam-surf-rock-reclaims-her-legacy-at-77\">Read in English.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Vào những năm đầu thập niên 1960 ở Sài Gòn, ca sĩ Phương Tâm xuất hiện trên sân khấu các phòng trà và hộp đêm sôi động của thành phố. Cô thể hiện tinh hoa của một thiếu nữ trẻ, với mái tóc đen dài buông thẳng và tà áo dài trắng thanh lịch.\u003c/p>\n\u003cp>Phương Tâm nổi bật từ năm 1964 cho đến 1966. Nhưng sau thời gian đó, cô ấy biến mất trên 50 năm nay. Vì sao?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/W1rDLliHJGc\u003c/p>\n\u003cp>Bây giờ đã 77 tuổi, Phương Tâm sống ở ngoại ô thành phố San Jose. Trước năm 2019, Tâm không kể lại quá khứ âm nhạc của mình cho ba đứa con nghe. Thực sự, câu chuyện này gần như không thể tin được.\u003c/p>\n\u003ch2>Quá khứ của Phương Tâm\u003c/h2>\n\u003cp>Lớn lên ở Hóc Môn gần Sài Gòn phồn hoa vào thập niên 1950, gia đình của Nguyễn Thị Tâm ít khi nghe nhạc, nên Tâm thường lắng nghe nhạc ở sau vườn được phát ra từ cái radio của người hàng xóm, họ nghe nhạc thịnh hành của Mỹ.\u003c/p>\n\u003cp>Một thầy bói đã nói rằng Tâm sẽ là người nổi tiếng trong tương lai. Nhưng khi 14 tuổi, Tâm là một học sinh trung bình. Tại sao cô ấy không quan tâm đến việc học, vì cô đã có âm nhạc.\u003c/p>\n\u003cp>Ở Sài Gòn năm 1961, Nguyễn Thị Tâm thi tuyển vào Biệt đoàn Văn nghệ, một đoàn văn hóa nghệ thuật miền Nam Việt Nam: chương trình của chính phủ chiêu mộ các nghệ sĩ biểu diễn tham gia quân đội.\u003c/p>\n\u003cp>Sau một năm, cô đã tìm thấy những người cố vấn có chung niềm yêu thích với âm nhạc phương Tây. Cô ca sĩ lấy nghệ danh là ‘Phương Tâm’, tên nghe có vẻ nữ tính hơn. Một nhạc sĩ nổi tiếng, Nguyễn Văn Xuân, đã nhận cô ấy là một học sinh riêng của mình.\u003c/p>\n\u003cp>Phương Tâm tìm nhiều cơ hội biểu diễn trong các phòng trà và hộp đêm. Ban ngày cô tập dượt và ban đêm cô biểu diễn cho khán giả người Việt và nước ngoài.\u003c/p>\n\u003cfigure id=\"attachment_11909171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11909171\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut.jpeg\" alt=\"\" width=\"1920\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-800x591.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-1020x753.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-160x118.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-1536x1134.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phương Tâm trình diễn với ban nhạc Khánh Băng trong đại nhạc hội Hoa Hậu Việt Nam, 1965. \u003ccite>(Nguyễn Ánh 9)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cô ấy cũng ‘chạy sô’ như những nghệ sĩ biểu diễn khác: 5 giờ chiều tại Căn cứ Không quân Tân Sơn Nhất, 7 giờ tối, tại An Đông, 8 p.m. tại \u003ca href=\"https://www.google.com/url?q=http://taybui.blogspot.com/2015/10/nhac-saigon-ban-em-1963.html&sa=D&source=docs&ust=1648145467898163&usg=AOvVaw2OxcODgSgNn5AlrbFQFsmy\">Capriccio Bar\u003c/a> – sau đó đến \u003ca href=\"https://www.google.com/url?q=https://nhacvangbolero.com/nhung-con-duong-sai-gon-xua-phan-3-duong-catinat-tu-do-tap-2/&sa=D&source=docs&ust=1648145467899061&usg=AOvVaw2o-mGX0dk1oQRQ7x9e2XmJ\">Tự Do\u003c/a>. Và cứ thế, mỗi giờ, ba bài hát cho mỗi địa điểm. Vào lúc nửa đêm, cô ấy đã hoàn thành một tập kéo dài một giờ tại Olympia.\u003c/p>\n\u003cp>Trong một bài phê bình về âm nhạc, nhà văn \u003ca href=\"https://www.google.com/url?q=https://vi.wikipedia.org/wiki/Mai_Th%25E1%25BA%25A3o&sa=D&source=docs&ust=1648145467897480&usg=AOvVaw1xNt_E2OTts1FScKu4zwmB\">Mai Thảo\u003c/a> đã viết về sức hút của người thiếu nữ bận trang phục khiêm tốn nầy:\u003c/p>\n\u003cblockquote>\u003cp>“Nhưng đến khi Phương Tâm cất tiếng hát, cái cảm tưởng về đứa nhỏ hiền lành lạc giữa bầy thú dữ ở ta không còn nữa. Đôi mắt long lanh, bàn tay vỗ nhịp. Phương Tâm lùi lùi, tiến tiến trước máy ghi âm, thoát chốc đã hiện hình trong một vóc dáng mới, cái vóc dáng bây giờ được vẽ bằng những đường lửa cháy, như một trái non đã chín dần dưới ánh nắng mặt trời.”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11909174\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11909174\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/ALBUM-COVER-%E2%80%9CTWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1.png\" alt=\"\" width=\"1920\" height=\"1942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1-800x809.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1-1020x1032.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1-160x162.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1-1519x1536.png 1519w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Qua diã nhạc “Twist surf beguine rock” mà Phương Tâm đã hát những tác phẩm của người khác, Phương Tâm học những bản này rất nhanh, thu âm chỉ một lần thôi. Không cần đến hai lần. \u003ccite>(Continental)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phương Tâm được nhiều nơi mời trình diễn, và nhiều nhạc sĩ nổi tiếng như \u003ca href=\"https://www.google.com/url?q=https://vi.wikipedia.org/wiki/Kh%25C3%25A1nh_B%25C4%2583ng&sa=D&source=docs&ust=1648145467896820&usg=AOvVaw2NoJA8x59xkxQagCaSfxxN\">Khánh Băng\u003c/a> thường tập dượt với Tâm trước khi vào phòng thu để thu âm. Những bài hát rock này nhìn chung là những biểu hiện lạc quan và trẻ trung của tình yêu, đan xen với nỗi cô đơn và mất mát, với những ca từ như “chia ly là một phần của cuộc sống” và “chiến đấu trong một cuộc chiến không mong muốn.”\u003c/p>\n\u003ch2>Cô ca sĩ gặp một người hâm mộ\u003c/h2>\n\u003cfigure id=\"attachment_11909184\" class=\"wp-caption aligncenter\" style=\"max-width: 1853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11909184\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1.jpeg\" alt=\"\" width=\"1853\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1.jpeg 1853w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1-800x1105.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1-1020x1409.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1-160x221.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1-1112x1536.jpeg 1112w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1-1482x2048.jpeg 1482w\" sizes=\"(max-width: 1853px) 100vw, 1853px\">\u003cfigcaption class=\"wp-caption-text\">Phương Tâm, hình bài tạp chí Đẹp, Sài Gòn 1965. \u003ccite>(Phương Tâm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tâm có một người hâm mộ, một sĩ quan đã theo cô từ lúc cô hoạt động từ Phi Trường Tân Sơn Nhất đến những phòng trà như Paramount và Olympia. Một đêm nọ, người sĩ quan này dắt theo một bác sĩ quân đội mới. Lúc đó Hà Xuân Du còn trẻ.\u003c/p>\n\u003cp>Sau ba năm kết hôn, sự kết hợp giữa một ca sĩ và người con trai của một gia đình quyền lực gây xôn xao dư luận. Cha mẹ của Du không đến dự lễ cưới.\u003c/p>\n\u003cp>Tâm nói điều này không thành vấn đề. Con gái lớn nhất của Tâm, Hannah, nói lúc đó họ đắm đuối yêu nhau. Nhưng trước khi trở thành vợ, Tâm đã là một ngôi sao rồi.\u003c/p>\n\u003ch2>Một cuộc sống mới bắt đầu\u003c/h2>\n\u003cp>Khi mới vừa lên đỉnh danh vọng, sau năm 1966, Phương Tâm ngừng đi hát và cũng không có chuyến lưu diễn từ biệt, hoặc một cuộc phỏng vấn cuối cùng. Đến lúc chiến tranh tàn khốc, cô ấy đã có ba đứa con. Hannah nhớ lại kỷ niệm trốn tránh bom đạn.\u003c/p>\n\u003cp>Khi Sài Gòn thất thủ năm 1975, cả gia đình di tản bằng máy bay chuyên chở hàng hoá. Họ đã đến được nam Cali. Ở nơi đó, Tâm tìm được việc làm, đa số là may áo quần.\u003c/p>\n\u003cp>Trong khi đó chồng cô đã đi học để lấy lại bằng y sĩ. Cuộc sống vây lúc đầu quanh những đứa con, và dần dần lại hướng về hỗ trợ cho phòng mạch bác sĩ nhi đồng của Du ở thành phố San Jose.\u003c/p>\n\u003cfigure id=\"attachment_11909196\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11909196\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut.jpeg\" alt=\"\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut.jpeg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-1536x1027.jpeg 1536w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Phương Tâm (bên phải) với con gái Hannah Hà. \u003ccite>(Lê Mỷ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hannah cũng là bác sĩ như cha của cô. Trên thực tế, tất cả ba đứa con của Tâm đều là bác sĩ. Mặc dầu các con không có khiếu về âm nhạc, cha mẹ của họ vẫn yêu thích âm nhạc. m nhạc là thứ đã đưa họ đến với nhau tại Việt Nam, và nó tiếp tục đóng một vai trò quan trọng trong mối quan hệ của họ tại Hoa Kỳ.\u003c/p>\n\u003cp>Quá khứ ca sĩ của Tâm cũng giống như là một bí mật được công khai. Cô không phủ nhận, nhưng cô vẫn hát những bài của người khác chứ không hát những bài tủ của mình. Khi chồng cô dùng Google để tìm cô trên trang mạng thì ông đã tìm ra được nhiều video của những \u003ca href=\"https://www.google.com/url?q=https://www.facebook.com/watch/?v%3D1408772159206973%26ref%3Dsharing&sa=D&source=docs&ust=1648145467893628&usg=AOvVaw26tHHtAGykpSxm7_UVmF3b\">phụ nữ khác tự xưng mình là Phương Tâm\u003c/a>.\u003c/p>\n\u003cp>Năm 2019, chồng của Tâm đã qua đời sau khi đấu tranh với bịnh tình lâu dài.\u003c/p>\n\u003cp>Cái chết của ông là một cột mốc của đời của Tâm và Hannah. Hannah đã đi lùng kiếm tài liệu về quá khứ của mẹ mình. Hannah tiếp tục phát hiện được rất nhiều Phương Tâm giả trên YouTube.\u003c/p>\n\u003cp>Hannah có ý định lập ra một sưu tập của những bản nhạc của Phương Tâm thật, pha trộn tất cả các phiên bản cũ mà cô tìm được, và có thể tải lên YouTube. Nhưng với sự giúp đỡ của nhà sản xuất Mark Gergis và nhờ những mối quan hệ của ông ấy trên toàn thế giới, cuối cùng cô có được một tác phẩm đầy tham vọng hơn. Họ tìm được những ghi âm nguyên bản hiếm có và nhiều cuộn thu âm, sửa lại những bài nhạc, và họ đã tạo ra một an-bum có chất lượng của phòng thu âm: \u003ca href=\"https://www.google.com/url?q=https://sublime-frequencies.bandcamp.com/album/magical-nights-saigon-surf-twist-soul-1964-1966&sa=D&source=docs&ust=1648145467900044&usg=AOvVaw2s-ucyIziueS1QwXcAD-3_\">Magical Nights\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11909200\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11909200\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut.jpeg\" alt=\"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-1536x1536.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Magical Nights: Saigon Surf Twist and Soul 1964-1966. \u003ccite>(Sublime Frequencies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lần đầu tiên Tâm nghe những bản nhạc mới được sửa chữa lại, ví dụ như “\u003ca href=\"https://www.google.com/url?q=https://sublime-frequencies.bandcamp.com/track/nh-ng-ng-y-qua-bygone-twisted-days&sa=D&source=docs&ust=1648145467894558&usg=AOvVaw1OuwLS2QiswX-lgddQ6-pz\">Những Ngày Qua\u003c/a>” từ năm 1965, Tâm đã khóc. Cô chưa được nghe những bản nhạc này trong 50 năm qua và hầu như đã quên đi chúng. Nhưng khi Hannah tìm ra chúng thì Tâm đã nhớ lại.\u003c/p>\n\u003cp>Tâm nhớ là ai đã chơi bàn phím, ai chơi ghi-ta. Cô nhớ đến tình thân thiết trong buổi điểm tâm sau một đêm hát hò. Cô ước gì chồng của cô, người đã ở bên cạnh cô lúc danh vọng lên ngôi, có thể nghe lại những bài hát này.\u003c/p>\n\u003cp>Tâm vẫn còn hát ở những buổi tiệc karaoke, và có khi trình diễn tại nhà hàng xóm ở thành phố San Jose. Trong quá khứ Tâm thường hay núp sau bóng của chồng cô, nhưng giờ thì Tâm hát một mình và đầy hảnh diện.\u003c/p>\n\u003cp>Cô có một ban nhạc dự bị gồm các nhạc sĩ nghiệp dư Việt Nam đã nghỉ hưu. Cô ấy chủ yếu hát các bài hát của người khác, nhưng bây giờ cô ấy muốn đề cập đến an-bum mới của mình.\u003c/p>\n\u003cp>Những người khách ở những buổi tiệc này rất thích thú. Một ông nọ đã dự tiệc nầy, ông ấy đã nói rằng dòng nhạc đã đem ông ta trở lại với thời thơ ấu, trước sự tàn khóc của chiến tranh Việt Nam.\u003c/p>\n\u003cp>Khi nhà Sản Xuất Gergis xem Tâm trình diễn, ông nói “Đây chính là người phụ nữ trong dĩa nhạc. Đây là chính người phụ nữ của thời đại đó. Đây là một người tràn đầy ánh sáng và tính chất đàn hồi, bà ấy vẫn còn một giọng hát rất hay, rất mạnh mẽ và lòng khát khao để hát nhạc. m nhạc ở trong máu của bà.\u003c/p>\n\u003cp>Hannah nói: “Tôi không nghĩ rằng mẹ tôi tuyệt vời chút nào. “Và bây giờ, mẹ rất là nóng bỏng!”\u003c/p>\n\u003cp>Và đang sẵn sàng cho chuyến lưu diễn đầy chiến thắng của mình.\u003c/p>\n\u003ch2>Đọc thêm\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/news/11907898/phuong-tam-sixties-star-of-vietnam-surf-rock-reclaims-her-legacy-at-77\">Bài tiếng Anh ở trang mạng KQED của Christine Nguyen\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.theguardian.com/music/2021/oct/28/saigon-twist-meet-phuong-tam-vietnam-first-rocknroll-star\">Bài tiếng Anh đăng trên báo The Guardian của Sheila Ngoc Pham.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://quenoi.com/phuong-tam-ca-si-rocknroll-dau-tien-cua-viet-nam\">Phỏng dịch bài của Sheila Ngoc Pham bởi Nguyễn Sĩ Hạnh.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: The following is a Vietnamese translation of a story KQED originally published on March 11, 2022. Because KQED serves the Bay Area, home to one of the largest Vietnamese communities outside of Vietnam, we wanted to ensure this multimedia story on music and history was accessible to audiences both in Vietnam and across the diaspora.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Thank you to Trần Đình Thanh Lam and Nguyễn Sĩ Hạnh for the translation.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/news/11907898/phuong-tam-sixties-star-of-vietnam-surf-rock-reclaims-her-legacy-at-77\">Read in English.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Vào những năm đầu thập niên 1960 ở Sài Gòn, ca sĩ Phương Tâm xuất hiện trên sân khấu các phòng trà và hộp đêm sôi động của thành phố. Cô thể hiện tinh hoa của một thiếu nữ trẻ, với mái tóc đen dài buông thẳng và tà áo dài trắng thanh lịch.\u003c/p>\n\u003cp>Phương Tâm nổi bật từ năm 1964 cho đến 1966. Nhưng sau thời gian đó, cô ấy biến mất trên 50 năm nay. Vì sao?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/W1rDLliHJGc'\n title='//www.youtube.com/embed/W1rDLliHJGc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bây giờ đã 77 tuổi, Phương Tâm sống ở ngoại ô thành phố San Jose. Trước năm 2019, Tâm không kể lại quá khứ âm nhạc của mình cho ba đứa con nghe. Thực sự, câu chuyện này gần như không thể tin được.\u003c/p>\n\u003ch2>Quá khứ của Phương Tâm\u003c/h2>\n\u003cp>Lớn lên ở Hóc Môn gần Sài Gòn phồn hoa vào thập niên 1950, gia đình của Nguyễn Thị Tâm ít khi nghe nhạc, nên Tâm thường lắng nghe nhạc ở sau vườn được phát ra từ cái radio của người hàng xóm, họ nghe nhạc thịnh hành của Mỹ.\u003c/p>\n\u003cp>Một thầy bói đã nói rằng Tâm sẽ là người nổi tiếng trong tương lai. Nhưng khi 14 tuổi, Tâm là một học sinh trung bình. Tại sao cô ấy không quan tâm đến việc học, vì cô đã có âm nhạc.\u003c/p>\n\u003cp>Ở Sài Gòn năm 1961, Nguyễn Thị Tâm thi tuyển vào Biệt đoàn Văn nghệ, một đoàn văn hóa nghệ thuật miền Nam Việt Nam: chương trình của chính phủ chiêu mộ các nghệ sĩ biểu diễn tham gia quân đội.\u003c/p>\n\u003cp>Sau một năm, cô đã tìm thấy những người cố vấn có chung niềm yêu thích với âm nhạc phương Tây. Cô ca sĩ lấy nghệ danh là ‘Phương Tâm’, tên nghe có vẻ nữ tính hơn. Một nhạc sĩ nổi tiếng, Nguyễn Văn Xuân, đã nhận cô ấy là một học sinh riêng của mình.\u003c/p>\n\u003cp>Phương Tâm tìm nhiều cơ hội biểu diễn trong các phòng trà và hộp đêm. Ban ngày cô tập dượt và ban đêm cô biểu diễn cho khán giả người Việt và nước ngoài.\u003c/p>\n\u003cfigure id=\"attachment_11909171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11909171\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut.jpeg\" alt=\"\" width=\"1920\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-800x591.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-1020x753.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-160x118.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-1536x1134.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phương Tâm trình diễn với ban nhạc Khánh Băng trong đại nhạc hội Hoa Hậu Việt Nam, 1965. \u003ccite>(Nguyễn Ánh 9)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cô ấy cũng ‘chạy sô’ như những nghệ sĩ biểu diễn khác: 5 giờ chiều tại Căn cứ Không quân Tân Sơn Nhất, 7 giờ tối, tại An Đông, 8 p.m. tại \u003ca href=\"https://www.google.com/url?q=http://taybui.blogspot.com/2015/10/nhac-saigon-ban-em-1963.html&sa=D&source=docs&ust=1648145467898163&usg=AOvVaw2OxcODgSgNn5AlrbFQFsmy\">Capriccio Bar\u003c/a> – sau đó đến \u003ca href=\"https://www.google.com/url?q=https://nhacvangbolero.com/nhung-con-duong-sai-gon-xua-phan-3-duong-catinat-tu-do-tap-2/&sa=D&source=docs&ust=1648145467899061&usg=AOvVaw2o-mGX0dk1oQRQ7x9e2XmJ\">Tự Do\u003c/a>. Và cứ thế, mỗi giờ, ba bài hát cho mỗi địa điểm. Vào lúc nửa đêm, cô ấy đã hoàn thành một tập kéo dài một giờ tại Olympia.\u003c/p>\n\u003cp>Trong một bài phê bình về âm nhạc, nhà văn \u003ca href=\"https://www.google.com/url?q=https://vi.wikipedia.org/wiki/Mai_Th%25E1%25BA%25A3o&sa=D&source=docs&ust=1648145467897480&usg=AOvVaw1xNt_E2OTts1FScKu4zwmB\">Mai Thảo\u003c/a> đã viết về sức hút của người thiếu nữ bận trang phục khiêm tốn nầy:\u003c/p>\n\u003cblockquote>\u003cp>“Nhưng đến khi Phương Tâm cất tiếng hát, cái cảm tưởng về đứa nhỏ hiền lành lạc giữa bầy thú dữ ở ta không còn nữa. Đôi mắt long lanh, bàn tay vỗ nhịp. Phương Tâm lùi lùi, tiến tiến trước máy ghi âm, thoát chốc đã hiện hình trong một vóc dáng mới, cái vóc dáng bây giờ được vẽ bằng những đường lửa cháy, như một trái non đã chín dần dưới ánh nắng mặt trời.”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11909174\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11909174\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/ALBUM-COVER-%E2%80%9CTWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1.png\" alt=\"\" width=\"1920\" height=\"1942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1-800x809.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1-1020x1032.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1-160x162.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1-1519x1536.png 1519w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Qua diã nhạc “Twist surf beguine rock” mà Phương Tâm đã hát những tác phẩm của người khác, Phương Tâm học những bản này rất nhanh, thu âm chỉ một lần thôi. Không cần đến hai lần. \u003ccite>(Continental)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phương Tâm được nhiều nơi mời trình diễn, và nhiều nhạc sĩ nổi tiếng như \u003ca href=\"https://www.google.com/url?q=https://vi.wikipedia.org/wiki/Kh%25C3%25A1nh_B%25C4%2583ng&sa=D&source=docs&ust=1648145467896820&usg=AOvVaw2NoJA8x59xkxQagCaSfxxN\">Khánh Băng\u003c/a> thường tập dượt với Tâm trước khi vào phòng thu để thu âm. Những bài hát rock này nhìn chung là những biểu hiện lạc quan và trẻ trung của tình yêu, đan xen với nỗi cô đơn và mất mát, với những ca từ như “chia ly là một phần của cuộc sống” và “chiến đấu trong một cuộc chiến không mong muốn.”\u003c/p>\n\u003ch2>Cô ca sĩ gặp một người hâm mộ\u003c/h2>\n\u003cfigure id=\"attachment_11909184\" class=\"wp-caption aligncenter\" style=\"max-width: 1853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11909184\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1.jpeg\" alt=\"\" width=\"1853\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1.jpeg 1853w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1-800x1105.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1-1020x1409.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1-160x221.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1-1112x1536.jpeg 1112w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled-1-1482x2048.jpeg 1482w\" sizes=\"(max-width: 1853px) 100vw, 1853px\">\u003cfigcaption class=\"wp-caption-text\">Phương Tâm, hình bài tạp chí Đẹp, Sài Gòn 1965. \u003ccite>(Phương Tâm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tâm có một người hâm mộ, một sĩ quan đã theo cô từ lúc cô hoạt động từ Phi Trường Tân Sơn Nhất đến những phòng trà như Paramount và Olympia. Một đêm nọ, người sĩ quan này dắt theo một bác sĩ quân đội mới. Lúc đó Hà Xuân Du còn trẻ.\u003c/p>\n\u003cp>Sau ba năm kết hôn, sự kết hợp giữa một ca sĩ và người con trai của một gia đình quyền lực gây xôn xao dư luận. Cha mẹ của Du không đến dự lễ cưới.\u003c/p>\n\u003cp>Tâm nói điều này không thành vấn đề. Con gái lớn nhất của Tâm, Hannah, nói lúc đó họ đắm đuối yêu nhau. Nhưng trước khi trở thành vợ, Tâm đã là một ngôi sao rồi.\u003c/p>\n\u003ch2>Một cuộc sống mới bắt đầu\u003c/h2>\n\u003cp>Khi mới vừa lên đỉnh danh vọng, sau năm 1966, Phương Tâm ngừng đi hát và cũng không có chuyến lưu diễn từ biệt, hoặc một cuộc phỏng vấn cuối cùng. Đến lúc chiến tranh tàn khốc, cô ấy đã có ba đứa con. Hannah nhớ lại kỷ niệm trốn tránh bom đạn.\u003c/p>\n\u003cp>Khi Sài Gòn thất thủ năm 1975, cả gia đình di tản bằng máy bay chuyên chở hàng hoá. Họ đã đến được nam Cali. Ở nơi đó, Tâm tìm được việc làm, đa số là may áo quần.\u003c/p>\n\u003cp>Trong khi đó chồng cô đã đi học để lấy lại bằng y sĩ. Cuộc sống vây lúc đầu quanh những đứa con, và dần dần lại hướng về hỗ trợ cho phòng mạch bác sĩ nhi đồng của Du ở thành phố San Jose.\u003c/p>\n\u003cfigure id=\"attachment_11909196\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11909196\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut.jpeg\" alt=\"\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut.jpeg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-1536x1027.jpeg 1536w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Phương Tâm (bên phải) với con gái Hannah Hà. \u003ccite>(Lê Mỷ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hannah cũng là bác sĩ như cha của cô. Trên thực tế, tất cả ba đứa con của Tâm đều là bác sĩ. Mặc dầu các con không có khiếu về âm nhạc, cha mẹ của họ vẫn yêu thích âm nhạc. m nhạc là thứ đã đưa họ đến với nhau tại Việt Nam, và nó tiếp tục đóng một vai trò quan trọng trong mối quan hệ của họ tại Hoa Kỳ.\u003c/p>\n\u003cp>Quá khứ ca sĩ của Tâm cũng giống như là một bí mật được công khai. Cô không phủ nhận, nhưng cô vẫn hát những bài của người khác chứ không hát những bài tủ của mình. Khi chồng cô dùng Google để tìm cô trên trang mạng thì ông đã tìm ra được nhiều video của những \u003ca href=\"https://www.google.com/url?q=https://www.facebook.com/watch/?v%3D1408772159206973%26ref%3Dsharing&sa=D&source=docs&ust=1648145467893628&usg=AOvVaw26tHHtAGykpSxm7_UVmF3b\">phụ nữ khác tự xưng mình là Phương Tâm\u003c/a>.\u003c/p>\n\u003cp>Năm 2019, chồng của Tâm đã qua đời sau khi đấu tranh với bịnh tình lâu dài.\u003c/p>\n\u003cp>Cái chết của ông là một cột mốc của đời của Tâm và Hannah. Hannah đã đi lùng kiếm tài liệu về quá khứ của mẹ mình. Hannah tiếp tục phát hiện được rất nhiều Phương Tâm giả trên YouTube.\u003c/p>\n\u003cp>Hannah có ý định lập ra một sưu tập của những bản nhạc của Phương Tâm thật, pha trộn tất cả các phiên bản cũ mà cô tìm được, và có thể tải lên YouTube. Nhưng với sự giúp đỡ của nhà sản xuất Mark Gergis và nhờ những mối quan hệ của ông ấy trên toàn thế giới, cuối cùng cô có được một tác phẩm đầy tham vọng hơn. Họ tìm được những ghi âm nguyên bản hiếm có và nhiều cuộn thu âm, sửa lại những bài nhạc, và họ đã tạo ra một an-bum có chất lượng của phòng thu âm: \u003ca href=\"https://www.google.com/url?q=https://sublime-frequencies.bandcamp.com/album/magical-nights-saigon-surf-twist-soul-1964-1966&sa=D&source=docs&ust=1648145467900044&usg=AOvVaw2s-ucyIziueS1QwXcAD-3_\">Magical Nights\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11909200\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11909200\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut.jpeg\" alt=\"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-1536x1536.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Magical Nights: Saigon Surf Twist and Soul 1964-1966. \u003ccite>(Sublime Frequencies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lần đầu tiên Tâm nghe những bản nhạc mới được sửa chữa lại, ví dụ như “\u003ca href=\"https://www.google.com/url?q=https://sublime-frequencies.bandcamp.com/track/nh-ng-ng-y-qua-bygone-twisted-days&sa=D&source=docs&ust=1648145467894558&usg=AOvVaw1OuwLS2QiswX-lgddQ6-pz\">Những Ngày Qua\u003c/a>” từ năm 1965, Tâm đã khóc. Cô chưa được nghe những bản nhạc này trong 50 năm qua và hầu như đã quên đi chúng. Nhưng khi Hannah tìm ra chúng thì Tâm đã nhớ lại.\u003c/p>\n\u003cp>Tâm nhớ là ai đã chơi bàn phím, ai chơi ghi-ta. Cô nhớ đến tình thân thiết trong buổi điểm tâm sau một đêm hát hò. Cô ước gì chồng của cô, người đã ở bên cạnh cô lúc danh vọng lên ngôi, có thể nghe lại những bài hát này.\u003c/p>\n\u003cp>Tâm vẫn còn hát ở những buổi tiệc karaoke, và có khi trình diễn tại nhà hàng xóm ở thành phố San Jose. Trong quá khứ Tâm thường hay núp sau bóng của chồng cô, nhưng giờ thì Tâm hát một mình và đầy hảnh diện.\u003c/p>\n\u003cp>Cô có một ban nhạc dự bị gồm các nhạc sĩ nghiệp dư Việt Nam đã nghỉ hưu. Cô ấy chủ yếu hát các bài hát của người khác, nhưng bây giờ cô ấy muốn đề cập đến an-bum mới của mình.\u003c/p>\n\u003cp>Những người khách ở những buổi tiệc này rất thích thú. Một ông nọ đã dự tiệc nầy, ông ấy đã nói rằng dòng nhạc đã đem ông ta trở lại với thời thơ ấu, trước sự tàn khóc của chiến tranh Việt Nam.\u003c/p>\n\u003cp>Khi nhà Sản Xuất Gergis xem Tâm trình diễn, ông nói “Đây chính là người phụ nữ trong dĩa nhạc. Đây là chính người phụ nữ của thời đại đó. Đây là một người tràn đầy ánh sáng và tính chất đàn hồi, bà ấy vẫn còn một giọng hát rất hay, rất mạnh mẽ và lòng khát khao để hát nhạc. m nhạc ở trong máu của bà.\u003c/p>\n\u003cp>Hannah nói: “Tôi không nghĩ rằng mẹ tôi tuyệt vời chút nào. “Và bây giờ, mẹ rất là nóng bỏng!”\u003c/p>\n\u003cp>Và đang sẵn sàng cho chuyến lưu diễn đầy chiến thắng của mình.\u003c/p>\n\u003ch2>Đọc thêm\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/news/11907898/phuong-tam-sixties-star-of-vietnam-surf-rock-reclaims-her-legacy-at-77\">Bài tiếng Anh ở trang mạng KQED của Christine Nguyen\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.theguardian.com/music/2021/oct/28/saigon-twist-meet-phuong-tam-vietnam-first-rocknroll-star\">Bài tiếng Anh đăng trên báo The Guardian của Sheila Ngoc Pham.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The California Magazine’s host, Sasha Khokha, is away this week, so we’re reprising our 2021 Hidden Gems show, where we go from a coveted food truck in the Central Valley to remote corners of Humboldt County. \u003c/span>\u003c/p>\n\u003ch2 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/news/11886264/fern-canyon-humboldts-soaring-emerald-palace\">Fern Canyon: Humboldt’s Soaring Emerald Palace\u003c/a>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the heart of Humboldt County lies a canyon exploding in bright green ferns — it’s easy to imagine a dinosaur popping up from behind the densest thickets. California Report Magazine host Sasha Khokha introduces us to a corner of California that feels more like Jurassic Park than the Golden State.\u003c/span>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11882522/the-beauty-bubble-brings-vintage-style-to-the-high-desert\">\u003cb>Finding More than Natural Beauty in Joshua Tree\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Landscapes, vistas, and knotted trees abound in Joshua Tree National Park. But those natural stunners are not the only beauty game in town. Reporter Peter Gilstrap takes us to the Beauty Bubble — a cool refuge from the desert sun, and a snapshot of another era.\u003c/span>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11889331/whats-behind-one-of-californias-most-ubiquitous-bumper-stickers\">\u003cb>The Truth Behind One of the State’s Most Ubiquitous Bumper Stickers\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ve all seen them before — the bright yellow bumper stickers that read “Mystery Spot” in black lettering. But what, actually, happens at the Mystery Spot? Reporter Amanda Font follows the story to the heart of the Santa Cruz mountains, to a place where perception appears to bend reality.\u003c/span>\u003c/p>\n\u003ch2 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/news/11886880/how-shuei-do-manju-shop-in-san-jose-inspires-a-cult-following-with-its-soft-pillowy-mochi\">How Shuei-Do Manju Shop in San José Inspires a Cult Following With Its Soft, Pillowy Mochi\u003c/a>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Shuei-Do Manju secret has been out for decades now. The San Jose shop makes mochi so soft one Instagram follower described them as “baby cheeks.” There’s almost always a line out the door at the tiny shop. KQED’s Rachael Myrow stopped by to sample\u003c/span>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11889482/coming-back-for-more-at-lady-chicken-rice\">\u003cb>Coming Back for More at Lady Chicken and Rice\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tucked away among the warehouses and farm supply stores that dot Highway 99 between Fresno and Bakersfield sits a jewel of a joint. Reporter Alice Daniel takes us to a food truck in Goshen, California featuring Lao cuisine, and a reputation that extends far beyond the local community. \u003c/span>\u003c/p>\n\u003ch2 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/news/11885803/ca-hidden-gems-chasing-waterfalls-at-californias-second-oldest-state-park\">Chasing Waterfalls at California’s Second-Oldest State Park\u003c/a>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">McArthur-Burney Falls Memorial State Park in Shasta County is the second oldest state park in California. The waterfall it’s named for might not be the largest in the state — but the California Report’s intern Hector Arzate thinks it might be the most beautiful.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The California Magazine’s host, Sasha Khokha, is away this week, so we’re reprising our 2021 Hidden Gems show, where we go from a coveted food truck in the Central Valley to remote corners of Humboldt County. \u003c/span>\u003c/p>\n\u003ch2 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/news/11886264/fern-canyon-humboldts-soaring-emerald-palace\">Fern Canyon: Humboldt’s Soaring Emerald Palace\u003c/a>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the heart of Humboldt County lies a canyon exploding in bright green ferns — it’s easy to imagine a dinosaur popping up from behind the densest thickets. California Report Magazine host Sasha Khokha introduces us to a corner of California that feels more like Jurassic Park than the Golden State.\u003c/span>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11882522/the-beauty-bubble-brings-vintage-style-to-the-high-desert\">\u003cb>Finding More than Natural Beauty in Joshua Tree\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Landscapes, vistas, and knotted trees abound in Joshua Tree National Park. But those natural stunners are not the only beauty game in town. Reporter Peter Gilstrap takes us to the Beauty Bubble — a cool refuge from the desert sun, and a snapshot of another era.\u003c/span>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11889331/whats-behind-one-of-californias-most-ubiquitous-bumper-stickers\">\u003cb>The Truth Behind One of the State’s Most Ubiquitous Bumper Stickers\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ve all seen them before — the bright yellow bumper stickers that read “Mystery Spot” in black lettering. But what, actually, happens at the Mystery Spot? Reporter Amanda Font follows the story to the heart of the Santa Cruz mountains, to a place where perception appears to bend reality.\u003c/span>\u003c/p>\n\u003ch2 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/news/11886880/how-shuei-do-manju-shop-in-san-jose-inspires-a-cult-following-with-its-soft-pillowy-mochi\">How Shuei-Do Manju Shop in San José Inspires a Cult Following With Its Soft, Pillowy Mochi\u003c/a>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Shuei-Do Manju secret has been out for decades now. The San Jose shop makes mochi so soft one Instagram follower described them as “baby cheeks.” There’s almost always a line out the door at the tiny shop. KQED’s Rachael Myrow stopped by to sample\u003c/span>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11889482/coming-back-for-more-at-lady-chicken-rice\">\u003cb>Coming Back for More at Lady Chicken and Rice\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tucked away among the warehouses and farm supply stores that dot Highway 99 between Fresno and Bakersfield sits a jewel of a joint. Reporter Alice Daniel takes us to a food truck in Goshen, California featuring Lao cuisine, and a reputation that extends far beyond the local community. \u003c/span>\u003c/p>\n\u003ch2 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/news/11885803/ca-hidden-gems-chasing-waterfalls-at-californias-second-oldest-state-park\">Chasing Waterfalls at California’s Second-Oldest State Park\u003c/a>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">McArthur-Burney Falls Memorial State Park in Shasta County is the second oldest state park in California. The waterfall it’s named for might not be the largest in the state — but the California Report’s intern Hector Arzate thinks it might be the most beautiful.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'I Shoot What It Feels Like': Oakland's Sarahbeth Maney on Her Iconic Photo of Ketanji Brown Jackson's Family",
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"content": "\u003cp>The photo was instantly iconic: Supreme Court nominee Judge Ketanji Brown Jackson sits at her confirmation hearing, smiling broadly. Her husband, Patrick Jackson, sits behind her.\u003c/p>\n\u003cp>But the camera’s focus is on the person next to \u003cem>him\u003c/em>: Jackson’s daughter Leila Jackson, who gazes at her mother with a smile and a look of intense admiration and pride.\u003c/p>\n\u003cfigure id=\"attachment_11909329\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11909329\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54667_NYTSCOTUS2_SBM_061-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54667_NYTSCOTUS2_SBM_061-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54667_NYTSCOTUS2_SBM_061-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54667_NYTSCOTUS2_SBM_061-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54667_NYTSCOTUS2_SBM_061-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54667_NYTSCOTUS2_SBM_061-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Jackson, left, husband of Supreme Court nominee Ketanji Brown Jackson, center, and daughter Leila Jackson, right, listen during Day One of Jackson’s confirmation hearings at the Hart Senate Office Building in Washington, D.C., on Monday, March 21, 2022. \u003ccite>(Courtesy Sarahbeth Maney/The New York Times)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photographer who captured that image — which traveled swiftly around the world — is Oakland’s own \u003ca href=\"https://sbmaneyphoto.com/\">Sarahbeth Maney\u003c/a>, photography fellow at The New York Times’ Washington, D.C. bureau. If her name and talent are familiar to you, you may have seen her featured in \u003ca href=\"https://www.kqed.org/arts/13901252/a-global-network-for-black-women-photographers-is-changing-the-industry\">KQED Arts and Culture’s 2021 story about the Black Women Photographers network\u003c/a>.\u003c/p>\n\u003cp>KQED’s Tara Siler spoke with Maney about the logistics of capturing the scene, the weight of covering Jackson’s confirmation hearings and the journey from the Bay Area to covering Washington, D.C.\u003c/p>\n\u003cp>\u003cem>This interview has been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003ch2>The moment the photo was captured\u003c/h2>\n\u003cp>I was on the sidelines of the room and I was standing on top of the steps or peeking over the wall, and I had a really good view of the front row and the people, the family members sitting in the front row. And during that time, there were senators making comments to Judge Jackson and mostly comments of praise and admiration of her.\u003c/p>\n\u003cp>I immediately looked towards her daughter, who was seated behind her, and I noticed this expression. And it was one of just pure admiration for her mother — and excitement. And it really made me feel just a sense of pride to be in the room and share that moment as well, as a Black woman. [pullquote size='medium' align='right' citation=\"Sarahbeth Maney, photographer\"]‘It really made me feel just a sense of pride to be in the room and share that moment as well, as a Black woman.’[/pullquote]\u003c/p>\n\u003cp>Whenever I’m making photos, I try to document moments from my experience as a Black woman photographer. So I really saw that moment as an opportunity to make something that could provide just an intimate scene into this hearing that’s very public — and just show a moment that’s different than what we had been seeing already.\u003c/p>\n\u003ch2>The experience of going viral on social media\u003c/h2>\n\u003cp>I’ve been covering the hearings all week. I’ve been working long, 12-hour days.\u003c/p>\n\u003cp>I covered Judge Jackson’s meeting with senators for the past three weeks, and also the official nomination by President Biden. And so the hearing was a very big deal: I had photographed all of the things leading up to this moment.\u003c/p>\n\u003cp>When I left work [on Wednesday night] I checked my phone and I had a text from a New York Times reporter who told me, “Hey, you better tweet out that photo that you took on Monday, because it’s going viral and you need to get photo credit for it.” And I was honestly sort of on the fence about tweeting it because it had already gained so much attention from other people who had tweeted it.\u003c/p>\n\u003cp>I just decided to go for it. I’m like, “I don’t know what’s going to come out of this, but I’ll tweet it and see what happens.” And it was just like a thunderstorm.\u003c/p>\n\u003cp>https://twitter.com/BerniceKing/status/1506846444296278019\u003c/p>\n\u003cp>From there, I was getting thousands of notifications. I tried to keep up in the beginning, but then I just, I couldn’t keep up anymore. But the comments I was reading were so powerful, they just brought me to tears. There are a lot of women saying that that’s how their daughters look at them, or they \u003cem>hope\u003c/em> their daughters look at them that way. Or that this photo shows that this young girl, she knows that she can do anything now.\u003c/p>\n\u003cp>And that’s sort of the message that I was hoping it would send.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>How it felt to be in that room\u003c/h2>\n\u003cp>It was a roller coaster to witness that moment in history. For myself, I was just thinking about my own experiences. And I just sort of allowed my coverage to be informed by my perspective.\u003c/p>\n\u003cp>[aside postID=arts_13901252 hero='https://ww2.kqed.org/app/uploads/sites/2/2021/08/pollyirungu3-1020x680.jpg']That’s sort of what I try to do. Whenever I’m making photographs, I look for things that make me feel something — and I have this thing that, I don’t shoot what it looks like, I shoot what it \u003cem>feels\u003c/em> like. And so that’s what I went in with the goal of doing.\u003c/p>\n\u003cp>This was also the first time in my career where I had worked in a room alongside more than one Black photographer. Which was a major deal for me, and for the other photographers in the room, because we were sort of able to understand where the other person was at.\u003c/p>\n\u003cp>And also just how significant it is for us to be in the room, and document history from our own perspectives, and provide this cultural nuance — when historically we have not seen ourselves represented in those spaces.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation=\"Sarahbeth Maney, photographer\"]‘I don’t shoot what it looks like, I shoot what it \u003cem>feels\u003c/em> like.’[/pullquote]I worked very hard to get where I am in my career. Also it just felt like a very proud moment, to be witnessing that moment.\u003c/p>\n\u003ch2>The journey from Oakland to The New York Times\u003c/h2>\n\u003cp>[Oakland is] my hometown, and I love documenting news happening there. But I felt like it was time for me to take a leap and try something new. This is a goal that I’ve always had for myself: to end up in D.C. one day and cover politics. And luckily, it happened a lot sooner than I expected.\u003c/p>\n\u003cp>My first internship was with The San Francisco Examiner, and then from there I went on to intern in Flint, Michigan. And then after that, I went to the [San Francisco] Chronicle.\u003c/p>\n\u003cp>In between there \u003ca href=\"https://sbmaneyphoto.com/black-lives-matter-the-movement\">I was covering a lot of the Black Lives Matter protests in 2020\u003c/a>. So that experience sort of prepared me for what it feels like to have an image go viral unexpectedly, because that happened to me during those protests.\u003c/p>\n\u003cp>https://twitter.com/pollyirungu/status/1507163680387092481\u003c/p>\n\u003cp>This was the third time that I applied to the New York Times Fellowship, and I got it this time. So it’s really been an honor to be here, and document what’s happening on Capitol Hill and in the White House.\u003c/p>\n\u003cp>I am actually the first D.C. fellow \u003cem>and\u003c/em> also the first Black New York Times fellow. So it’s just a very exciting moment for me to be able to do this work.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The photo was instantly iconic: Supreme Court nominee Judge Ketanji Brown Jackson sits at her confirmation hearing, smiling broadly. Her husband, Patrick Jackson, sits behind her.\u003c/p>\n\u003cp>But the camera’s focus is on the person next to \u003cem>him\u003c/em>: Jackson’s daughter Leila Jackson, who gazes at her mother with a smile and a look of intense admiration and pride.\u003c/p>\n\u003cfigure id=\"attachment_11909329\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11909329\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54667_NYTSCOTUS2_SBM_061-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54667_NYTSCOTUS2_SBM_061-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54667_NYTSCOTUS2_SBM_061-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54667_NYTSCOTUS2_SBM_061-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54667_NYTSCOTUS2_SBM_061-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54667_NYTSCOTUS2_SBM_061-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Jackson, left, husband of Supreme Court nominee Ketanji Brown Jackson, center, and daughter Leila Jackson, right, listen during Day One of Jackson’s confirmation hearings at the Hart Senate Office Building in Washington, D.C., on Monday, March 21, 2022. \u003ccite>(Courtesy Sarahbeth Maney/The New York Times)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photographer who captured that image — which traveled swiftly around the world — is Oakland’s own \u003ca href=\"https://sbmaneyphoto.com/\">Sarahbeth Maney\u003c/a>, photography fellow at The New York Times’ Washington, D.C. bureau. If her name and talent are familiar to you, you may have seen her featured in \u003ca href=\"https://www.kqed.org/arts/13901252/a-global-network-for-black-women-photographers-is-changing-the-industry\">KQED Arts and Culture’s 2021 story about the Black Women Photographers network\u003c/a>.\u003c/p>\n\u003cp>KQED’s Tara Siler spoke with Maney about the logistics of capturing the scene, the weight of covering Jackson’s confirmation hearings and the journey from the Bay Area to covering Washington, D.C.\u003c/p>\n\u003cp>\u003cem>This interview has been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003ch2>The moment the photo was captured\u003c/h2>\n\u003cp>I was on the sidelines of the room and I was standing on top of the steps or peeking over the wall, and I had a really good view of the front row and the people, the family members sitting in the front row. And during that time, there were senators making comments to Judge Jackson and mostly comments of praise and admiration of her.\u003c/p>\n\u003cp>I immediately looked towards her daughter, who was seated behind her, and I noticed this expression. And it was one of just pure admiration for her mother — and excitement. And it really made me feel just a sense of pride to be in the room and share that moment as well, as a Black woman. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whenever I’m making photos, I try to document moments from my experience as a Black woman photographer. So I really saw that moment as an opportunity to make something that could provide just an intimate scene into this hearing that’s very public — and just show a moment that’s different than what we had been seeing already.\u003c/p>\n\u003ch2>The experience of going viral on social media\u003c/h2>\n\u003cp>I’ve been covering the hearings all week. I’ve been working long, 12-hour days.\u003c/p>\n\u003cp>I covered Judge Jackson’s meeting with senators for the past three weeks, and also the official nomination by President Biden. And so the hearing was a very big deal: I had photographed all of the things leading up to this moment.\u003c/p>\n\u003cp>When I left work [on Wednesday night] I checked my phone and I had a text from a New York Times reporter who told me, “Hey, you better tweet out that photo that you took on Monday, because it’s going viral and you need to get photo credit for it.” And I was honestly sort of on the fence about tweeting it because it had already gained so much attention from other people who had tweeted it.\u003c/p>\n\u003cp>I just decided to go for it. I’m like, “I don’t know what’s going to come out of this, but I’ll tweet it and see what happens.” And it was just like a thunderstorm.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s sort of what I try to do. Whenever I’m making photographs, I look for things that make me feel something — and I have this thing that, I don’t shoot what it looks like, I shoot what it \u003cem>feels\u003c/em> like. And so that’s what I went in with the goal of doing.\u003c/p>\n\u003cp>This was also the first time in my career where I had worked in a room alongside more than one Black photographer. Which was a major deal for me, and for the other photographers in the room, because we were sort of able to understand where the other person was at.\u003c/p>\n\u003cp>And also just how significant it is for us to be in the room, and document history from our own perspectives, and provide this cultural nuance — when historically we have not seen ourselves represented in those spaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Author Excavates Her Parents' Revolutionary Past, From Berkeley to Iran",
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"content": "\u003cp>Neda Toloui-Semnani is an Emmy Award-winning writer and producer who’s written for Vice News and The Washington Post. She’s just released her first book, a memoir, “\u003ca href=\"https://www.nedasemnani.com/book\">They Said They Wanted Revolution: A Memoir of My Parents.\u003c/a>”\u003c/p>\n\u003cp>It’s pieced together from interviews, diaries and archives, and dives deep into her family’s history, both in the U.S. and Iran, starting with her grandfather’s decision in the 1920s to choose a surname for his family, and tracing her parents’ return to Iran to support the revolution after they were radicalized as Marxists in the leftist climate of Berkeley in the late 1960s.\u003c/p>\n\u003cp>\u003cem>Toloui-Semnani spoke with The California Report Magazine’s host, Sasha Khokha. Excerpts of this interview have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Book-Cover.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11908364\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Book-Cover-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Book-Cover-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Book-Cover-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Book-Cover-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Book-Cover-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Book-Cover-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Book-Cover.jpg 1650w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/a>\u003c/p>\n\u003ch2>On Iranian students and radical 1960s Berkeley\u003c/h2>\n\u003cp>Whether it’s immigration, or even something as simple as where you go to college, the moment that you touch down someplace can set you on your course. It’s one of the reasons why I spent so much time researching the time and the place, digging into what Berkeley was like in 1969 versus 1965 versus 1972 to get a sense of how Berkeley was changing — how the students within the university, but also the people within the city, were changing.\u003c/p>\n\u003cp>Iranian students [like my parents] were becoming more political and certainly more militant, looking around at groups like the Black Panthers to see how they were doing it. They were very aware of SDS [\u003ca href=\"https://www.smithsonianmag.com/history/what-was-protest-group-students-democratic-society-five-questions-answered-180963138/\">Students for a Democratic Society\u003c/a>]. In fact, some of them were members of both SDS and the Iranian student movement. So these weren’t separate groups. The Iranian students very much influenced those groups and were influenced by them in return. For young people who were feeling that drive to change, there was one part of the spectrum that was drawn to the more militant, radical side of political activism.\u003c/p>\n\u003cfigure id=\"attachment_11908091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Parents.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11908091 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Parents-800x764.png\" alt=\"A man and a woman are sitting on grass outside. The man is wearing a black shirt and jeans and the woman is wearing a light colored shirt and jeans.\" width=\"800\" height=\"764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Parents-800x764.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Parents-1020x974.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Parents-160x153.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Parents.png 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Neda Toloui-Semnani’s parents, Farahnaz Ebrahimi and Faramarz Toloui-Semnani, at Tilden Park, circa 1973.\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>On that first day in Berkeley, she walked hurriedly down Telegraph Avenue. She had a quick, funny gait: heels in and toes out. It pitched her hips back and forth in a way that was a little tomboyish and a little suggestive. She found the sublet, which belonged to a young couple who were visiting Iran for a few months. The apartment was essentially a small room, but my mother took it to share with another Iranian girl I’ll call Naz, who was a few years younger than she, the little sister of a friend.\u003c/p>\n\u003cp>The girls moved into the studio with a love seat, milk crates, a phone, and a turntable. They slapped fat psychedelic-flower decals on the wall and pulled down the Murphy bed to share. That summer, their apartment was where everyone gathered on their way to the Iran house, the meeting place for all the ISA \u003cem>[\u003c/em>\u003cem>Iranian Student Association]\u003c/em> chapters in Northern California, a couple of blocks away.\u003c/p>\u003c/blockquote>\n\u003cp>My mother and my father were part of the Iranian student movement, which was an anti-Shah movement. There were various different factions of that. The one thing that really unified them is that they didn’t want the Shah of Iran to be in power anymore. My parents were on the left. They started as Marxist-Leninists, and as Berkeley tracked towards Maoism, which it was wont to do in the early 1970s, so [did] my parents also go further and further to the left.\u003c/p>\n\u003cp>As the Iranian student movement, the anti-Shah movement, was really becoming established — after the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/238287\">takeover of the Iranian consulate\u003c/a> [in San Francisco in 1970], for example — it became illegal to be part of what they call “the confederation,” the Iranian student movement. So then people were starting to cover their faces [at protests]. Looking at old newspaper clippings and \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/189745\">video from protests\u003c/a>, you’ll see that often they’re wearing masks or hats and sunglasses. And as the ’70s went on, these became full-face coverings. They were very aware that they were being watched [by both the Shah’s secret police and, potentially, the FBI].\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>On the promise of the revolution failing for her parents\u003c/h2>\n\u003cp>The planes going back into Iran [after the revolution] were filled with these young, idealistic activists who had been working for so long towards this revolution. One of the stories that people told me was that people filling these planes were singing revolutionary anthems. Both the leftists and, obviously, the Islamists, who were also part of this revolutionary fervor.\u003c/p>\n\u003cp>At first, this group of the leftist student movement joined up with the Ayatollah and the Islamic wing trying to overthrow the Shah. This was a coalition movement, really. It was a pragmatic choice, one might say. As soon as the goal [of deposing the Shah] was achieved, then questions were brought to the fore, like, “How do we govern?” “Who gets to govern?” “Who takes power?” It became clear that the revolution wasn’t going to pan out the way that the students certainly had hoped, or my parents had hoped.\u003c/p>\n\u003cfigure id=\"attachment_11908354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Family-Edit.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11908354 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Family-Edit-800x733.jpg\" alt=\"Four people are seen in a family photo with two women, a man and a small child.\" width=\"800\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Family-Edit-800x733.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Family-Edit-1020x934.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Family-Edit-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Family-Edit-1536x1406.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Family-Edit.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Neda Toloui-Semnani’s mother, aunt and uncle packing as they prepare to escape Iran, a harrowing journey that would take them by horseback into Turkey. \u003ccite>(Courtesy Neda Toloui-Semnani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On her harrowing escape from Iran on horseback as a toddler\u003c/h2>\n\u003cp>I have very vague memories of Iran. I remember feeling part of a family. My mother was heavily pregnant with my brother when we escaped. When you’re a kid and you’re preverbal, it’s like all of your memories are trapped in your body somehow there, and feelings or sensations.\u003c/p>\n\u003cfigure id=\"attachment_11908114\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11908114 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby-800x930.jpg\" alt=\"A black and white photo of a small child.\" width=\"800\" height=\"930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby-800x930.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby-1020x1186.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby-160x186.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby-1321x1536.jpg 1321w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby-1761x2048.jpg 1761w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Neda Toloui-Semnani’s passport photo, taken in Istanbul, 1982.\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>I remember nearly nothing from the journey. I do remember wanting my mother that night. I remember that when she told me I couldn’t be with her, I was confused and wondered if I were in trouble. I didn’t understand that there wasn’t enough room for me on her horse. I didn’t understand that she was too big, the horse too small, and the trail too dangerous.\u003c/p>\n\u003cp>Now I also wonder if the last thing my mother would have wanted just then was a child pressed up against her. To be strong for me, she needed space for me. I was given my own horse and my own mustachioed smuggler. He scared me […]\u003c/p>\n\u003cp>It grew later still. The horse swayed beneath me. I fell asleep against the smuggler. In my sleep, my fingers loosen their grip on my windbreaker. I woke up when it fell from my hand, floating down the mountainside. I begged the smugglers, my mother, aunts, and uncle to stop the horses and go back and find it. My smuggler went back and tried, but he didn’t see it.\u003c/p>\n\u003cp>I know where it is, I told him. I can find it.\u003c/p>\n\u003cp>But it was dark and late. We had to keep moving. The moment they stopped looking for my jacket, I filled up with a fear so profound, the rest of me shrank to nothing.\u003c/p>\n\u003cp>The world is unfair and I am washed away. I remember that feeling clearly.\u003c/p>\u003c/blockquote>\n\u003ch2>On trying to learn who her father was, after he was executed by the Ayatollah in 1983\u003c/h2>\n\u003cp>[When I was reporting this book,] people would give me these little kind of crumbs of [who] my father [was]. He would bite part of his hand when he was thinking, or he would click a pen when he was talking, or his voice when he would laugh, or how he would respond when he got annoyed. All of a sudden, there was a texture to him that had been missing before. Someone even recently sent me a picture where my dad’s laughing. I had never seen a picture of him laughing before. The only image I’d ever seen of my father speaking was in his trial, which I found online.\u003c/p>\n\u003cp>So it was these kinds of ways that I was able to patchwork him together from an idea into something that was more textured, more human and flawed, and kind of beautiful. When I was reflecting on it, I realized that’s actually how we get to know who people are. We feel like we know the fullness of them. I started working on this book after my mother had passed away. So there was a lot of comfort in feeling like I was able to spend time with my father.\u003c/p>\n\u003ch2>On hearing a \u003ca href=\"https://storycorps.org/the-unedited-interview-farah-ebrahimi-and-rose-elizabeth-gorman/\">StoryCorps interview\u003c/a> with her mother, three years after her death from cancer\u003c/h2>\n\u003cp>I was kind of frozen in place. I hadn’t heard my mother’s voice for so many years at that point, and she and I were really close. All of a sudden, it was actually a really beautiful moment of being parented. She just showed me that she had seen me all those years growing up. When I thought no one understood, my mom had seen what was happening, how lost I had felt, and how much I was grieving my dad, and how I was trying to make sense of everything.\u003c/p>\n\u003cp>The way I took that moment was that she had given me space all these years, to take my time and find my way through this story and make my own peace with it.\u003c/p>\n\u003ch2>On what she hopes this story will mean for her son someday\u003c/h2>\n\u003cp>I hope that this is where my son could go when he needs his mom. I wanted to be able to be with him. Anytime he needs me. You know, I started writing this book many years before he was born, so I didn’t start this project with him in mind. After he was born, it changed what the project meant to me. I hope my son has something to hold on to after I’m gone.\u003c/p>\n\u003cp>\u003cem>Neda Toloui-Semnani will talk with The California Report Magazine’s Sasha Khokha in a \u003ca href=\"https://www.commonwealthclub.org/events/2022-03-23/neda-toloui-semnani-they-said-they-wanted-revolution-memoir-my-iranian-parents\">free, virtual conversation with the Commonwealth Club\u003c/a> on March 23.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Emmy Award-winning writer Neda Toloui-Semnani joins The California Report Magazine to discuss her first book, 'They Said They Wanted Revolution: A Memoir of My Parents,' which dives deep into her family's history, both in the U.S. and Iran.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Neda Toloui-Semnani is an Emmy Award-winning writer and producer who’s written for Vice News and The Washington Post. She’s just released her first book, a memoir, “\u003ca href=\"https://www.nedasemnani.com/book\">They Said They Wanted Revolution: A Memoir of My Parents.\u003c/a>”\u003c/p>\n\u003cp>It’s pieced together from interviews, diaries and archives, and dives deep into her family’s history, both in the U.S. and Iran, starting with her grandfather’s decision in the 1920s to choose a surname for his family, and tracing her parents’ return to Iran to support the revolution after they were radicalized as Marxists in the leftist climate of Berkeley in the late 1960s.\u003c/p>\n\u003cp>\u003cem>Toloui-Semnani spoke with The California Report Magazine’s host, Sasha Khokha. Excerpts of this interview have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Book-Cover.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-11908364\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Book-Cover-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Book-Cover-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Book-Cover-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Book-Cover-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Book-Cover-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Book-Cover-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Book-Cover.jpg 1650w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/a>\u003c/p>\n\u003ch2>On Iranian students and radical 1960s Berkeley\u003c/h2>\n\u003cp>Whether it’s immigration, or even something as simple as where you go to college, the moment that you touch down someplace can set you on your course. It’s one of the reasons why I spent so much time researching the time and the place, digging into what Berkeley was like in 1969 versus 1965 versus 1972 to get a sense of how Berkeley was changing — how the students within the university, but also the people within the city, were changing.\u003c/p>\n\u003cp>Iranian students [like my parents] were becoming more political and certainly more militant, looking around at groups like the Black Panthers to see how they were doing it. They were very aware of SDS [\u003ca href=\"https://www.smithsonianmag.com/history/what-was-protest-group-students-democratic-society-five-questions-answered-180963138/\">Students for a Democratic Society\u003c/a>]. In fact, some of them were members of both SDS and the Iranian student movement. So these weren’t separate groups. The Iranian students very much influenced those groups and were influenced by them in return. For young people who were feeling that drive to change, there was one part of the spectrum that was drawn to the more militant, radical side of political activism.\u003c/p>\n\u003cfigure id=\"attachment_11908091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Parents.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11908091 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Parents-800x764.png\" alt=\"A man and a woman are sitting on grass outside. The man is wearing a black shirt and jeans and the woman is wearing a light colored shirt and jeans.\" width=\"800\" height=\"764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Parents-800x764.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Parents-1020x974.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Parents-160x153.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Parents.png 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Neda Toloui-Semnani’s parents, Farahnaz Ebrahimi and Faramarz Toloui-Semnani, at Tilden Park, circa 1973.\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>On that first day in Berkeley, she walked hurriedly down Telegraph Avenue. She had a quick, funny gait: heels in and toes out. It pitched her hips back and forth in a way that was a little tomboyish and a little suggestive. She found the sublet, which belonged to a young couple who were visiting Iran for a few months. The apartment was essentially a small room, but my mother took it to share with another Iranian girl I’ll call Naz, who was a few years younger than she, the little sister of a friend.\u003c/p>\n\u003cp>The girls moved into the studio with a love seat, milk crates, a phone, and a turntable. They slapped fat psychedelic-flower decals on the wall and pulled down the Murphy bed to share. That summer, their apartment was where everyone gathered on their way to the Iran house, the meeting place for all the ISA \u003cem>[\u003c/em>\u003cem>Iranian Student Association]\u003c/em> chapters in Northern California, a couple of blocks away.\u003c/p>\u003c/blockquote>\n\u003cp>My mother and my father were part of the Iranian student movement, which was an anti-Shah movement. There were various different factions of that. The one thing that really unified them is that they didn’t want the Shah of Iran to be in power anymore. My parents were on the left. They started as Marxist-Leninists, and as Berkeley tracked towards Maoism, which it was wont to do in the early 1970s, so [did] my parents also go further and further to the left.\u003c/p>\n\u003cp>As the Iranian student movement, the anti-Shah movement, was really becoming established — after the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/238287\">takeover of the Iranian consulate\u003c/a> [in San Francisco in 1970], for example — it became illegal to be part of what they call “the confederation,” the Iranian student movement. So then people were starting to cover their faces [at protests]. Looking at old newspaper clippings and \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/189745\">video from protests\u003c/a>, you’ll see that often they’re wearing masks or hats and sunglasses. And as the ’70s went on, these became full-face coverings. They were very aware that they were being watched [by both the Shah’s secret police and, potentially, the FBI].\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>On the promise of the revolution failing for her parents\u003c/h2>\n\u003cp>The planes going back into Iran [after the revolution] were filled with these young, idealistic activists who had been working for so long towards this revolution. One of the stories that people told me was that people filling these planes were singing revolutionary anthems. Both the leftists and, obviously, the Islamists, who were also part of this revolutionary fervor.\u003c/p>\n\u003cp>At first, this group of the leftist student movement joined up with the Ayatollah and the Islamic wing trying to overthrow the Shah. This was a coalition movement, really. It was a pragmatic choice, one might say. As soon as the goal [of deposing the Shah] was achieved, then questions were brought to the fore, like, “How do we govern?” “Who gets to govern?” “Who takes power?” It became clear that the revolution wasn’t going to pan out the way that the students certainly had hoped, or my parents had hoped.\u003c/p>\n\u003cfigure id=\"attachment_11908354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Family-Edit.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11908354 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Family-Edit-800x733.jpg\" alt=\"Four people are seen in a family photo with two women, a man and a small child.\" width=\"800\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Family-Edit-800x733.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Family-Edit-1020x934.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Family-Edit-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Family-Edit-1536x1406.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Family-Edit.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Neda Toloui-Semnani’s mother, aunt and uncle packing as they prepare to escape Iran, a harrowing journey that would take them by horseback into Turkey. \u003ccite>(Courtesy Neda Toloui-Semnani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On her harrowing escape from Iran on horseback as a toddler\u003c/h2>\n\u003cp>I have very vague memories of Iran. I remember feeling part of a family. My mother was heavily pregnant with my brother when we escaped. When you’re a kid and you’re preverbal, it’s like all of your memories are trapped in your body somehow there, and feelings or sensations.\u003c/p>\n\u003cfigure id=\"attachment_11908114\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11908114 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby-800x930.jpg\" alt=\"A black and white photo of a small child.\" width=\"800\" height=\"930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby-800x930.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby-1020x1186.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby-160x186.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby-1321x1536.jpg 1321w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby-1761x2048.jpg 1761w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Neda-Toloui-Semnani-Baby.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Neda Toloui-Semnani’s passport photo, taken in Istanbul, 1982.\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>I remember nearly nothing from the journey. I do remember wanting my mother that night. I remember that when she told me I couldn’t be with her, I was confused and wondered if I were in trouble. I didn’t understand that there wasn’t enough room for me on her horse. I didn’t understand that she was too big, the horse too small, and the trail too dangerous.\u003c/p>\n\u003cp>Now I also wonder if the last thing my mother would have wanted just then was a child pressed up against her. To be strong for me, she needed space for me. I was given my own horse and my own mustachioed smuggler. He scared me […]\u003c/p>\n\u003cp>It grew later still. The horse swayed beneath me. I fell asleep against the smuggler. In my sleep, my fingers loosen their grip on my windbreaker. I woke up when it fell from my hand, floating down the mountainside. I begged the smugglers, my mother, aunts, and uncle to stop the horses and go back and find it. My smuggler went back and tried, but he didn’t see it.\u003c/p>\n\u003cp>I know where it is, I told him. I can find it.\u003c/p>\n\u003cp>But it was dark and late. We had to keep moving. The moment they stopped looking for my jacket, I filled up with a fear so profound, the rest of me shrank to nothing.\u003c/p>\n\u003cp>The world is unfair and I am washed away. I remember that feeling clearly.\u003c/p>\u003c/blockquote>\n\u003ch2>On trying to learn who her father was, after he was executed by the Ayatollah in 1983\u003c/h2>\n\u003cp>[When I was reporting this book,] people would give me these little kind of crumbs of [who] my father [was]. He would bite part of his hand when he was thinking, or he would click a pen when he was talking, or his voice when he would laugh, or how he would respond when he got annoyed. All of a sudden, there was a texture to him that had been missing before. Someone even recently sent me a picture where my dad’s laughing. I had never seen a picture of him laughing before. The only image I’d ever seen of my father speaking was in his trial, which I found online.\u003c/p>\n\u003cp>So it was these kinds of ways that I was able to patchwork him together from an idea into something that was more textured, more human and flawed, and kind of beautiful. When I was reflecting on it, I realized that’s actually how we get to know who people are. We feel like we know the fullness of them. I started working on this book after my mother had passed away. So there was a lot of comfort in feeling like I was able to spend time with my father.\u003c/p>\n\u003ch2>On hearing a \u003ca href=\"https://storycorps.org/the-unedited-interview-farah-ebrahimi-and-rose-elizabeth-gorman/\">StoryCorps interview\u003c/a> with her mother, three years after her death from cancer\u003c/h2>\n\u003cp>I was kind of frozen in place. I hadn’t heard my mother’s voice for so many years at that point, and she and I were really close. All of a sudden, it was actually a really beautiful moment of being parented. She just showed me that she had seen me all those years growing up. When I thought no one understood, my mom had seen what was happening, how lost I had felt, and how much I was grieving my dad, and how I was trying to make sense of everything.\u003c/p>\n\u003cp>The way I took that moment was that she had given me space all these years, to take my time and find my way through this story and make my own peace with it.\u003c/p>\n\u003ch2>On what she hopes this story will mean for her son someday\u003c/h2>\n\u003cp>I hope that this is where my son could go when he needs his mom. I wanted to be able to be with him. Anytime he needs me. You know, I started writing this book many years before he was born, so I didn’t start this project with him in mind. After he was born, it changed what the project meant to me. I hope my son has something to hold on to after I’m gone.\u003c/p>\n\u003cp>\u003cem>Neda Toloui-Semnani will talk with The California Report Magazine’s Sasha Khokha in a \u003ca href=\"https://www.commonwealthclub.org/events/2022-03-23/neda-toloui-semnani-they-said-they-wanted-revolution-memoir-my-iranian-parents\">free, virtual conversation with the Commonwealth Club\u003c/a> on March 23.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final.png\">\u003cimg class=\"alignnone size-full wp-image-11907956\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final.png\" alt='Cartoon: Sesame Street characters singing \"canta de cosas buenas no malas\" next to funeral flowers with a banner that reads, \"Emilio Delgado, 1940-2022.\"' width=\"1920\" height=\"1357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final-800x565.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final-1020x721.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final-160x113.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final-1536x1086.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>Emilio Delgado, an actor born in the California border town of Calexico who played \u003ca href=\"https://bit.ly/fioreemiliodelgadoluis\">Luis the handyman on \"Sesame Street\" for over 40 years, died on Thursday at the age of 81\u003c/a>.\u003c/p>\n\u003cp>Delgado's Luis owned and operated the \"Fix-It Shop\" and helped bring diversity to television screens \u003ca href=\"https://www.youtube.com/watch?v=K5StTXQofqs\">in a time when there just wasn't much of it\u003c/a>.\u003c/p>\n\u003cp>Here's a heartwarming version of Delgado singing the classic \"Sesame Street\" song \"Sing\" in Spanish, which includes the line, \"Canta de cosas buenas, no malas,” or \"Sing of good things, not bad.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QxOft5QZjDI&t=112s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final.png\">\u003cimg class=\"alignnone size-full wp-image-11907956\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final.png\" alt='Cartoon: Sesame Street characters singing \"canta de cosas buenas no malas\" next to funeral flowers with a banner that reads, \"Emilio Delgado, 1940-2022.\"' width=\"1920\" height=\"1357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final-800x565.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final-1020x721.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final-160x113.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/delgado_031122_final-1536x1086.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>Emilio Delgado, an actor born in the California border town of Calexico who played \u003ca href=\"https://bit.ly/fioreemiliodelgadoluis\">Luis the handyman on \"Sesame Street\" for over 40 years, died on Thursday at the age of 81\u003c/a>.\u003c/p>\n\u003cp>Delgado's Luis owned and operated the \"Fix-It Shop\" and helped bring diversity to television screens \u003ca href=\"https://www.youtube.com/watch?v=K5StTXQofqs\">in a time when there just wasn't much of it\u003c/a>.\u003c/p>\n\u003cp>Here's a heartwarming version of Delgado singing the classic \"Sesame Street\" song \"Sing\" in Spanish, which includes the line, \"Canta de cosas buenas, no malas,” or \"Sing of good things, not bad.\"\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/QxOft5QZjDI'\n title='//www.youtube.com/embed/QxOft5QZjDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On a recent evening, 10-year-old Katie Noriega and her mom snuggled up together to read a story at their home in San José. The bilingual book in Spanish and English they dove into, “\u003ca href=\"https://www.forall-paratodos.net/\">Para Todos/For All\u003c/a>,” by Bay Area-based author Alejandra Domenzain, tells the story of the struggles of a young girl named Flor and her father, who are forced to flee their homeland and look for opportunity in a new country.\u003c/p>\n\u003cp>“‘Are we going to the land that we see on TV? Will we fly in a plane? Will there be more toys for me?’” Katie read aloud to her mom. “‘Her dad forced a smile and put on a brave face. It won’t be so easy to get to that place.’”\u003c/p>\n\u003cp>Katie’s mom, Rocio Gonzalez, read the same lines, in Spanish:\u003c/p>\n\u003cp>“‘¿Vamos a ese lugar que vemos en la tele? ¿Iremos en avión? ¿Tendré muchos juguetes? Su papa sonrió a medias y se armó de valor. No será fácil llegar.’”\u003c/p>\n\u003cfigure id=\"attachment_11907427\" class=\"wp-caption aligncenter\" style=\"max-width: 357px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11907427\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54107_Cover-with-logo-10_26-qut-800x1002.jpg\" alt=\"A children's book cover: "For All/Para Todos"\" width=\"357\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54107_Cover-with-logo-10_26-qut-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54107_Cover-with-logo-10_26-qut-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54107_Cover-with-logo-10_26-qut-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54107_Cover-with-logo-10_26-qut-1227x1536.jpg 1227w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54107_Cover-with-logo-10_26-qut.jpg 1617w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Para Todos/For All,’ a bilingual book by Alejandra Domenzain, with illustrations by Katherine Loh. \u003ccite>(Courtesy Hard Ball Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Katie has lived in the U.S. her entire life. She understands Spanish and speaks it a little bit, but feels more comfortable reading in English. The opposite is true for Rocio, who spent her formative years in Mexico.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even though they’re reading in different languages, Katie and Rocio said they get a lot out of reading this book together. Katie responded to Flor’s courage and tenacity.\u003c/p>\n\u003cp>“I think she’s a strong person because she never gave up,” Katie said. “She just kept going.”\u003c/p>\n\u003cp>Rocio said books like “Para Todos” help connect the dots between what she has — and has not — yet told her daughter about her own complex immigration journey, when she moved to California from Jalisco, Mexico, in her late teens.\u003c/p>\n\u003cp>“By bringing in these types of books, we can connect them with what we’ve already talked — or not talked — about regarding our own journeys,” Rocio said in Spanish.\u003c/p>\n\u003ch2>‘Heard and validated’\u003c/h2>\n\u003cp>A growing number of children’s book authors and literacy activists have been pushing for more bilingual books for kids, like “Para Todos.” That objective resonates with many bilingual households, particularly in California, where more than a quarter of residents speak Spanish as a first language.\u003c/p>\n\u003cp>A number of academic studies in recent years have shown that \u003ca href=\"https://scholarship.depauw.edu/cgi/viewcontent.cgi?article=1078&context=studentresearch\">bilingual books help improve literacy levels\u003c/a> among immigrant families where English is not spoken at home, especially when the stories highlight diverse characters.\u003c/p>\n\u003cp>“Having access to books where you feel represented or you feel heard and validated is a great thing to have at such a young age,” said Belen Delgado, education policy program associate at the\u003ca href=\"https://doloreshuerta.org/\"> Dolores Huerta Foundation\u003c/a>, a grassroots activism hub with several chapters in California.\u003c/p>\n\u003cp>A small but growing number of bilingual children’s titles are taking that model a step further, by not only centering Latinx characters, but also making them powerful agents of change.\u003c/p>\n\u003cp>In “Para Todos,” for instance, the main character, Flor, becomes an immigrant rights activist.\u003c/p>\n\u003cp>“It’s not just about, ‘Let’s have diverse characters and diverse stories,’” said author Domenzain, who lives in Foster City. “It’s, ‘Let’s look at the structural systems that are causing the injustice and have on-ramps for young people to question them and know that it’s possible to make structural changes.’”\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Belen Delgado, Dolores Huerta Foundation\"]‘Having access to books where you feel represented or you feel heard and validated is a great thing to have at such a young age.’[/pullquote]Other bilingual children’s book writers agree.\u003c/p>\n\u003cp>Ann Berlak is the Oakland-based author of “\u003ca href=\"https://bookshop.org/books/joelito-s-big-decision-la-gran-decision-de-joelito/9780986240096\">La Gran Decisión de Joelito/Joelito’s Big Decision\u003c/a>,” a 2015 book about an 11-year-old boy who must decide whether to eat a hamburger at his favorite restaurant or join his best friend and his friend’s father on the picket line to fight for higher wages for lower-income workers.\u003c/p>\n\u003cp>“I decided to write ‘Joelito’ as an example of how people can not only know that there’s an alternative, but fight for an alternative,” Berlak said.\u003c/p>\n\u003cp>\u003ca href=\"http://www.monicabrown.net/\">Mónica Brown\u003c/a>, who grew up in the Bay Area, has written a slew of bilingual children’s titles focusing on famous activists from history, including “\u003ca href=\"https://www.harpercollins.com/products/side-by-sidelado-a-lado-monica-brown\">Lado a Lado/Side by Side\u003c/a>,” her book about Dolores Huerta and Cesar Chavez.\u003c/p>\n\u003cfigure id=\"attachment_11907762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54109_Monica-Brown-with-kids-qut-800x531-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11907762 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54109_Monica-Brown-with-kids-qut-800x531-1.jpeg\" alt=\"A woman reads to a group of young children.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54109_Monica-Brown-with-kids-qut-800x531-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54109_Monica-Brown-with-kids-qut-800x531-1-160x106.jpeg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Mónica Brown reads to a group of children. \u003ccite>(Courtesy of Mónica Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They imagined great things and believed in themselves, and with community support were able to accomplish extraordinary things,” said Brown of her protagonists. “And I want each child to think they can, too.”\u003c/p>\n\u003cp>Meanwhile, Leticia Hernández-Linares’s new book, “\u003ca href=\"https://risehomestories.com/alejandria/home/\">La Lucha de Alejandria!/¡Alejandria Fights Back!\u003c/a>,” tackles the issue of eviction, something the San Francisco mother of two said she once faced.\u003c/p>\n\u003cp>“Our children — my children — have been and continue to be exposed to these things,” said Hernández-Linares, who wrote the book as part of \u003ca href=\"https://risehomestories.com/\">Rise-Home Stories\u003c/a>, a national storytelling project about housing, land rights and racial justice.\u003c/p>\n\u003cp>“Teachers and parents have been very grateful and excited about this book as a vehicle to open up discussion around hard things with their kids,” she said.\u003c/p>\n\u003ch2>\u003cstrong>Barriers to access\u003c/strong>\u003c/h2>\n\u003cp>Despite the positive reception, it’s been challenging for these authors to get their books into the hands of families that may need them most.\u003c/p>\n\u003cp>For one thing, there simply aren’t enough of these books available yet.\u003c/p>\n\u003cp>According to data from the University of Wisconsin-Madison School of Education, which tracks diversity in children’s literature, \u003ca href=\"https://ccbc.education.wisc.edu/literature-resources/ccbc-diversity-statistics/books-by-about-poc-fnn/\">books with Latinx protagonists made up only around 7%\u003c/a> of the U.S. children’s book publishing industry last year. There were \u003ca href=\"https://www.slj.com/story/an-updated-look-at-diversity-in-childrens-books\">almost twice as many titles \u003c/a>with Black characters.\u003c/p>\n\u003cp>“If you go to a progressive bookstore, you’ll see a very small Spanish-language section, then you see a tiny bilingual,” said Timothy Sheard, who runs \u003ca href=\"https://www.hardballpress.com/index.html\">Hard Ball Press\u003c/a>, the small indie publisher of “Para Todos,” “La Gran Decisión de Joelito” and other bilingual social justice books for children. “The bilingual is not as common in bookstores as it could be, given the population.”[aside label=\"Related Stories\" postID=\"arts_13900685,arts_13877896,arts_13874840\"]NJ Mvondo is a media diversity advocate who spent years working in an independent bookstore in Palo Alto, before founding\u003ca href=\"https://multiculturalism.rocks/author/multiculturalismrocks/\"> Multiculturalism Rocks\u003c/a>, an online platform that advocates for cultural diversity in media, especially in children’s content.\u003c/p>\n\u003cp>“Something I observed was that many families came in asking for these books, and they had trouble finding them,” she said. “But when these books would be on the floor, they would sell quickly. They would usually sell out.”\u003c/p>\n\u003cp>And when bookstores do stock these books, an added barrier is their cost, Mvondo noted.\u003c/p>\n\u003cp>“Some of the families that really need those books don’t have enough of a budget for them,” she said. “They’re focused on buying food, paying rent and taking the kids to school and all that.”\u003c/p>\n\u003cp>Many libraries also are struggling to acquire bilingual children’s books.\u003c/p>\n\u003cp>“People see a book and they’re like, ‘Well, I saw it on Amazon. How come you can’t just order it?’ And we really wish it was that easy,” said Elizabeth Perez, a children’s librarian at San Francisco Public Library.\u003c/p>\n\u003cp>Most bilingual titles are self-published or put out by indie presses, Perez said, which makes them hard to find on the approved-vendor lists the library uses to purchase books.\u003c/p>\n\u003cp>“Sometimes our own hands are tied,” she said.\u003c/p>\n\u003ch2>\u003cstrong>Changing times \u003c/strong>\u003c/h2>\n\u003cp>It doesn’t help matters that California voters in 1986\u003ca href=\"https://ballotpedia.org/California_Proposition_63,_English_is_the_Official_Language_Amendment_(1986)\"> declared English the state’s “official language”\u003c/a> with the overwhelming passage of Proposition 63. That was followed 12 years later by \u003ca href=\"https://lao.ca.gov/ballot/1998/227_06_1998.htm#:~:text=This%20proposition%20significantly%20changes%20the,bilingual%22%20classes%20in%20most%20cases.\">Proposition 227\u003c/a>, which significantly restricted bilingual education in the state’s public schools.\u003c/p>\n\u003cp>However, since Prop 227’s repeal in 2016, the California Department of Education has worked to increase\u003ca href=\"https://edsource.org/2021/california-bilingual-programs-ready-to-grow-after-slowing-during-pandemic/655455#:~:text=Under%20the%20California%20Department%20of,or%20more%20languages%20by%202040.\"> bilingual programs\u003c/a>. Mvondo said together with this effort, she’s starting to see more bilingual titles with diverse protagonists addressing social justice themes. “It’s growing,” she said. “The No. 1 factor has been mobilization from children’s authors, illustrators and publishers.”\u003c/p>\n\u003cfigure id=\"attachment_11907764\" class=\"wp-caption alignright\" style=\"max-width: 692px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Picture4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11907764 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Picture4.jpg\" alt=\"A woman reads a storybook to a large classroom of young children.\" width=\"692\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Picture4.jpg 692w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Picture4-160x124.jpg 160w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A volunteer from the ‘Jeepney of Hope’ project reads a storybook to an elementary school classroom in the Philippines. \u003ccite>(Courtesy of Ana Maria Bacudio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She added, “These books for kids are one of those very rare things in literacy that bring a whole family or community together.”\u003c/p>\n\u003ch2>\u003cstrong>Inspiring real-world change\u003c/strong>\u003c/h2>\n\u003cp>Such is the case with Mónica Brown’s “\u003ca href=\"http://www.monicabrown.net/books/biblioburro.html\">Waiting for the Biblioburro\u003c/a>” — or “Esperando el Biblioburro” — which tells the story of a mobile library that travels throughout rural Colombia bringing books to children.\u003c/p>\n\u003cp>Brown said she was recently contacted by an educator in the Philippines who was deeply inspired by the story.\u003c/p>\n\u003cp>“When I read that book, it gave me an idea that I could replicate that,” said Ana Maria Bacudio, a medical technologist in the Philippines.\u003c/p>\n\u003cp>A few years ago, Bacudio launched a roving literary service for kids in underserved communities around her country. There are no burros in the Philippines, she said, so she started out on a motorcycle and eventually upgraded to a jeep, calling it the “\u003ca href=\"https://www.facebook.com/JeepofHope/\">Jeepney of Hope\u003c/a>.”\u003c/p>\n\u003cp>Bacudio said her mobile library features many bilingual books on social justice themes. When children from poor, rural communities get their hands on these books, they become aware of their rights, and start to dream, she said.\u003c/p>\n\u003cp>“It brings children joy, the joy of reading,” Bacudio said. “Most of all, it brings them hope.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Thanks to KQED’s Carlos Cabrera-Lomelí for help with translations.\u003c/em>\u003c/p>\n\n",
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"title": "'Our Own Journeys': The Growing Push for More Bilingual Children's Books in Schools and Libraries | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent evening, 10-year-old Katie Noriega and her mom snuggled up together to read a story at their home in San José. The bilingual book in Spanish and English they dove into, “\u003ca href=\"https://www.forall-paratodos.net/\">Para Todos/For All\u003c/a>,” by Bay Area-based author Alejandra Domenzain, tells the story of the struggles of a young girl named Flor and her father, who are forced to flee their homeland and look for opportunity in a new country.\u003c/p>\n\u003cp>“‘Are we going to the land that we see on TV? Will we fly in a plane? Will there be more toys for me?’” Katie read aloud to her mom. “‘Her dad forced a smile and put on a brave face. It won’t be so easy to get to that place.’”\u003c/p>\n\u003cp>Katie’s mom, Rocio Gonzalez, read the same lines, in Spanish:\u003c/p>\n\u003cp>“‘¿Vamos a ese lugar que vemos en la tele? ¿Iremos en avión? ¿Tendré muchos juguetes? Su papa sonrió a medias y se armó de valor. No será fácil llegar.’”\u003c/p>\n\u003cfigure id=\"attachment_11907427\" class=\"wp-caption aligncenter\" style=\"max-width: 357px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11907427\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54107_Cover-with-logo-10_26-qut-800x1002.jpg\" alt=\"A children's book cover: "For All/Para Todos"\" width=\"357\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54107_Cover-with-logo-10_26-qut-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54107_Cover-with-logo-10_26-qut-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54107_Cover-with-logo-10_26-qut-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54107_Cover-with-logo-10_26-qut-1227x1536.jpg 1227w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54107_Cover-with-logo-10_26-qut.jpg 1617w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Para Todos/For All,’ a bilingual book by Alejandra Domenzain, with illustrations by Katherine Loh. \u003ccite>(Courtesy Hard Ball Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Katie has lived in the U.S. her entire life. She understands Spanish and speaks it a little bit, but feels more comfortable reading in English. The opposite is true for Rocio, who spent her formative years in Mexico.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even though they’re reading in different languages, Katie and Rocio said they get a lot out of reading this book together. Katie responded to Flor’s courage and tenacity.\u003c/p>\n\u003cp>“I think she’s a strong person because she never gave up,” Katie said. “She just kept going.”\u003c/p>\n\u003cp>Rocio said books like “Para Todos” help connect the dots between what she has — and has not — yet told her daughter about her own complex immigration journey, when she moved to California from Jalisco, Mexico, in her late teens.\u003c/p>\n\u003cp>“By bringing in these types of books, we can connect them with what we’ve already talked — or not talked — about regarding our own journeys,” Rocio said in Spanish.\u003c/p>\n\u003ch2>‘Heard and validated’\u003c/h2>\n\u003cp>A growing number of children’s book authors and literacy activists have been pushing for more bilingual books for kids, like “Para Todos.” That objective resonates with many bilingual households, particularly in California, where more than a quarter of residents speak Spanish as a first language.\u003c/p>\n\u003cp>A number of academic studies in recent years have shown that \u003ca href=\"https://scholarship.depauw.edu/cgi/viewcontent.cgi?article=1078&context=studentresearch\">bilingual books help improve literacy levels\u003c/a> among immigrant families where English is not spoken at home, especially when the stories highlight diverse characters.\u003c/p>\n\u003cp>“Having access to books where you feel represented or you feel heard and validated is a great thing to have at such a young age,” said Belen Delgado, education policy program associate at the\u003ca href=\"https://doloreshuerta.org/\"> Dolores Huerta Foundation\u003c/a>, a grassroots activism hub with several chapters in California.\u003c/p>\n\u003cp>A small but growing number of bilingual children’s titles are taking that model a step further, by not only centering Latinx characters, but also making them powerful agents of change.\u003c/p>\n\u003cp>In “Para Todos,” for instance, the main character, Flor, becomes an immigrant rights activist.\u003c/p>\n\u003cp>“It’s not just about, ‘Let’s have diverse characters and diverse stories,’” said author Domenzain, who lives in Foster City. “It’s, ‘Let’s look at the structural systems that are causing the injustice and have on-ramps for young people to question them and know that it’s possible to make structural changes.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘Having access to books where you feel represented or you feel heard and validated is a great thing to have at such a young age.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other bilingual children’s book writers agree.\u003c/p>\n\u003cp>Ann Berlak is the Oakland-based author of “\u003ca href=\"https://bookshop.org/books/joelito-s-big-decision-la-gran-decision-de-joelito/9780986240096\">La Gran Decisión de Joelito/Joelito’s Big Decision\u003c/a>,” a 2015 book about an 11-year-old boy who must decide whether to eat a hamburger at his favorite restaurant or join his best friend and his friend’s father on the picket line to fight for higher wages for lower-income workers.\u003c/p>\n\u003cp>“I decided to write ‘Joelito’ as an example of how people can not only know that there’s an alternative, but fight for an alternative,” Berlak said.\u003c/p>\n\u003cp>\u003ca href=\"http://www.monicabrown.net/\">Mónica Brown\u003c/a>, who grew up in the Bay Area, has written a slew of bilingual children’s titles focusing on famous activists from history, including “\u003ca href=\"https://www.harpercollins.com/products/side-by-sidelado-a-lado-monica-brown\">Lado a Lado/Side by Side\u003c/a>,” her book about Dolores Huerta and Cesar Chavez.\u003c/p>\n\u003cfigure id=\"attachment_11907762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54109_Monica-Brown-with-kids-qut-800x531-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11907762 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54109_Monica-Brown-with-kids-qut-800x531-1.jpeg\" alt=\"A woman reads to a group of young children.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54109_Monica-Brown-with-kids-qut-800x531-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54109_Monica-Brown-with-kids-qut-800x531-1-160x106.jpeg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Mónica Brown reads to a group of children. \u003ccite>(Courtesy of Mónica Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They imagined great things and believed in themselves, and with community support were able to accomplish extraordinary things,” said Brown of her protagonists. “And I want each child to think they can, too.”\u003c/p>\n\u003cp>Meanwhile, Leticia Hernández-Linares’s new book, “\u003ca href=\"https://risehomestories.com/alejandria/home/\">La Lucha de Alejandria!/¡Alejandria Fights Back!\u003c/a>,” tackles the issue of eviction, something the San Francisco mother of two said she once faced.\u003c/p>\n\u003cp>“Our children — my children — have been and continue to be exposed to these things,” said Hernández-Linares, who wrote the book as part of \u003ca href=\"https://risehomestories.com/\">Rise-Home Stories\u003c/a>, a national storytelling project about housing, land rights and racial justice.\u003c/p>\n\u003cp>“Teachers and parents have been very grateful and excited about this book as a vehicle to open up discussion around hard things with their kids,” she said.\u003c/p>\n\u003ch2>\u003cstrong>Barriers to access\u003c/strong>\u003c/h2>\n\u003cp>Despite the positive reception, it’s been challenging for these authors to get their books into the hands of families that may need them most.\u003c/p>\n\u003cp>For one thing, there simply aren’t enough of these books available yet.\u003c/p>\n\u003cp>According to data from the University of Wisconsin-Madison School of Education, which tracks diversity in children’s literature, \u003ca href=\"https://ccbc.education.wisc.edu/literature-resources/ccbc-diversity-statistics/books-by-about-poc-fnn/\">books with Latinx protagonists made up only around 7%\u003c/a> of the U.S. children’s book publishing industry last year. There were \u003ca href=\"https://www.slj.com/story/an-updated-look-at-diversity-in-childrens-books\">almost twice as many titles \u003c/a>with Black characters.\u003c/p>\n\u003cp>“If you go to a progressive bookstore, you’ll see a very small Spanish-language section, then you see a tiny bilingual,” said Timothy Sheard, who runs \u003ca href=\"https://www.hardballpress.com/index.html\">Hard Ball Press\u003c/a>, the small indie publisher of “Para Todos,” “La Gran Decisión de Joelito” and other bilingual social justice books for children. “The bilingual is not as common in bookstores as it could be, given the population.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>NJ Mvondo is a media diversity advocate who spent years working in an independent bookstore in Palo Alto, before founding\u003ca href=\"https://multiculturalism.rocks/author/multiculturalismrocks/\"> Multiculturalism Rocks\u003c/a>, an online platform that advocates for cultural diversity in media, especially in children’s content.\u003c/p>\n\u003cp>“Something I observed was that many families came in asking for these books, and they had trouble finding them,” she said. “But when these books would be on the floor, they would sell quickly. They would usually sell out.”\u003c/p>\n\u003cp>And when bookstores do stock these books, an added barrier is their cost, Mvondo noted.\u003c/p>\n\u003cp>“Some of the families that really need those books don’t have enough of a budget for them,” she said. “They’re focused on buying food, paying rent and taking the kids to school and all that.”\u003c/p>\n\u003cp>Many libraries also are struggling to acquire bilingual children’s books.\u003c/p>\n\u003cp>“People see a book and they’re like, ‘Well, I saw it on Amazon. How come you can’t just order it?’ And we really wish it was that easy,” said Elizabeth Perez, a children’s librarian at San Francisco Public Library.\u003c/p>\n\u003cp>Most bilingual titles are self-published or put out by indie presses, Perez said, which makes them hard to find on the approved-vendor lists the library uses to purchase books.\u003c/p>\n\u003cp>“Sometimes our own hands are tied,” she said.\u003c/p>\n\u003ch2>\u003cstrong>Changing times \u003c/strong>\u003c/h2>\n\u003cp>It doesn’t help matters that California voters in 1986\u003ca href=\"https://ballotpedia.org/California_Proposition_63,_English_is_the_Official_Language_Amendment_(1986)\"> declared English the state’s “official language”\u003c/a> with the overwhelming passage of Proposition 63. That was followed 12 years later by \u003ca href=\"https://lao.ca.gov/ballot/1998/227_06_1998.htm#:~:text=This%20proposition%20significantly%20changes%20the,bilingual%22%20classes%20in%20most%20cases.\">Proposition 227\u003c/a>, which significantly restricted bilingual education in the state’s public schools.\u003c/p>\n\u003cp>However, since Prop 227’s repeal in 2016, the California Department of Education has worked to increase\u003ca href=\"https://edsource.org/2021/california-bilingual-programs-ready-to-grow-after-slowing-during-pandemic/655455#:~:text=Under%20the%20California%20Department%20of,or%20more%20languages%20by%202040.\"> bilingual programs\u003c/a>. Mvondo said together with this effort, she’s starting to see more bilingual titles with diverse protagonists addressing social justice themes. “It’s growing,” she said. “The No. 1 factor has been mobilization from children’s authors, illustrators and publishers.”\u003c/p>\n\u003cfigure id=\"attachment_11907764\" class=\"wp-caption alignright\" style=\"max-width: 692px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Picture4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11907764 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/Picture4.jpg\" alt=\"A woman reads a storybook to a large classroom of young children.\" width=\"692\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Picture4.jpg 692w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/Picture4-160x124.jpg 160w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A volunteer from the ‘Jeepney of Hope’ project reads a storybook to an elementary school classroom in the Philippines. \u003ccite>(Courtesy of Ana Maria Bacudio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She added, “These books for kids are one of those very rare things in literacy that bring a whole family or community together.”\u003c/p>\n\u003ch2>\u003cstrong>Inspiring real-world change\u003c/strong>\u003c/h2>\n\u003cp>Such is the case with Mónica Brown’s “\u003ca href=\"http://www.monicabrown.net/books/biblioburro.html\">Waiting for the Biblioburro\u003c/a>” — or “Esperando el Biblioburro” — which tells the story of a mobile library that travels throughout rural Colombia bringing books to children.\u003c/p>\n\u003cp>Brown said she was recently contacted by an educator in the Philippines who was deeply inspired by the story.\u003c/p>\n\u003cp>“When I read that book, it gave me an idea that I could replicate that,” said Ana Maria Bacudio, a medical technologist in the Philippines.\u003c/p>\n\u003cp>A few years ago, Bacudio launched a roving literary service for kids in underserved communities around her country. There are no burros in the Philippines, she said, so she started out on a motorcycle and eventually upgraded to a jeep, calling it the “\u003ca href=\"https://www.facebook.com/JeepofHope/\">Jeepney of Hope\u003c/a>.”\u003c/p>\n\u003cp>Bacudio said her mobile library features many bilingual books on social justice themes. When children from poor, rural communities get their hands on these books, they become aware of their rights, and start to dream, she said.\u003c/p>\n\u003cp>“It brings children joy, the joy of reading,” Bacudio said. “Most of all, it brings them hope.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In her new young adult novel, “\u003ca href=\"https://www.penguinrandomhouse.com/books/625057/all-my-rage-by-sabaa-tahir/\">All My Rage\u003c/a>,” author \u003ca href=\"https://sabaatahir.com/\">Sabaa Tahir\u003c/a> tells a story of cultural identity and growing up through the eyes of two teenage best friends. Noor and Salahudin are both Pakistani American, living in the small fictional town of Juniper, in California’s Mojave Desert. Noor wants nothing more than to go away to college and leave behind their rural town.\u003c/p>\n\u003cfigure id=\"attachment_11906203\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/All-My-Rage-COVER.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11906203\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/All-My-Rage-COVER-160x242.jpg\" alt=\"\" width=\"250\" height=\"378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-1020x1542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER.jpg 1278w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Penguin Random House\u003c/figcaption>\u003c/figure>\n\u003cp>Tahir is the bestselling author of the young adult fantasy series “\u003ca href=\"https://www.goodreads.com/series/153986-an-ember-in-the-ashes\">An Ember in the Ashes\u003c/a>,” which features a young woman of color as the hero fighting back against an oppressive empire. In contrast to her fantasy novels, Tahir mines her own experiences in her most recent book. Like her main character, Salahudin, she is the child of Pakistani immigrants who grew up in a rural town in the Mojave Desert, in her parents’ 18-room motel.\u003c/p>\n\u003cp>Tahir recently spoke with The California Report Magazine’s Sasha Khokha.\u003c/p>\n\u003cp>\u003cem>(Excerpts of this interview have been edited for length and clarity.)\u003c/em>\u003c/p>\n\u003ch2>On being shaped by the experience of growing up in her family’s motel\u003c/h2>\n\u003cp>I think the thing that I remember the most are all the different types of people who would come through. Everything I learned, from how to curse, to the different ways that people expressed kindness. We had a tenant once who paid us with a bird because I think he didn’t have enough money to make rent. But he had all these birds that he loved, that he kept in the room. We had a tenant once who [damaged] the room, [making] a hole in the wall or something, and he left without saying anything about it. But my parents found money in the room, and they assumed that that was his way of saying, “Hey, sorry about this. I hope this will pay for it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But we also had people who wouldn’t pay rent, who ruined the rooms, who called us names, who were abusive. It really was an experience of extremes. I was quiet, I loved reading. I was in my head a lot. And I think that there was so much more going on inside than I ever really expressed. So I would lose myself in books and reading and writing stories.\u003c/p>\n\u003cfigure id=\"attachment_11906170\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/Little-Sabaa-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11906170\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/Little-Sabaa-800x600.jpg\" alt=\"A young Pakistani-American girls stands on the grass smiling at the camera. She is wearing a pink dress with a white collar, and her hair pulled back with a headband. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Sabaa Tahir as a child. \u003ccite>(Courtesy of Sabaa Tahir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On writing for young adults\u003c/h2>\n\u003cp>I feel like 14 to 22 is an age of such change and such growth. So much of story is about the arc, about the change and the growth within a character. So to me, it seems like a natural fit to write about young adults. I love writing for children who are at a vulnerable time in their life and to write stories that are, in my mind, realistic but that also offer hope. Because as a young person myself, I really, really needed to see hope in the books that I read.[pullquote align=\"right\" size=\"medium\" citation=\"Sabaa Tahir\"]‘I love writing for children who are at a vulnerable time in their life and to write stories that are, in my mind, realistic but that also offer hope.’[/pullquote]I think honesty is really important, showing the messy reality of these kids’ lives, both in the struggle but also in the beauty and in the humor — in allowing for a lack of resolution, or a resolution that is perhaps a little bit more ambiguous. Because the truth is that trauma doesn’t always leave us. We can heal from it. Sometimes we can shed it, but not always. I wanted to portray that realistically for young people because I don’t think young people are always taught how to deal with trauma. And yet young people go through immense amounts of trauma, whether adults want to admit it or not.\u003c/p>\n\u003ch2>On using music to express Noor’s emotions\u003c/h2>\n\u003cp>One of the songs that means so much to Noor is “\u003ca href=\"https://www.youtube.com/watch?v=8-r-V0uK4u0&ab_channel=SmashingPumpkinsVEVO\">Bullet with Butterfly Wings\u003c/a>” by [The] Smashing Pumpkins. And I think people who know the song will recognize the title of this book. It’s this ’90s anthem and it really encompasses this sense of rage that Noor feels that is buried very deep. Another song that Noor loves is by Masuma Anwar called “\u003ca href=\"https://www.youtube.com/watch?v=bEPenI-2WsA&ab_channel=GaaneShaane\">Tainu Ghul Gayaan\u003c/a>.” Anwar has this really deep voice and this incredible range.\u003c/p>\n\u003cp>Noor really struggles to express her feelings. When she speaks out loud, she ends up using short sentences, really having a hard time saying what she means. So one of the reasons why she loves Masuma Anwar so much is because this woman puts so much feeling into a single word.\u003c/p>\n\u003cp>Anna Leone’s song “Once” comes up on Noor’s playlist as Noor and Salahudin are driving together, and they’ve just shared some deep secrets with each other. This is a song that is all about regret and the past:\u003c/p>\n\u003cblockquote>\u003cp>I close my eyes and lean my head back. The road is smooth beneath the wheels. The window cool against the bruise on my cheek, and Anna Leone sings “Once” about what it means to move on from the past.\u003c/p>\n\u003cp>“Sometimes, Salahudin,” I say, “it feels like too much. I think about the shit we’ve read in school. Those books all about one problem. A kid who’s bullied. A kid who’s beaten. A kid who’s poor. And I think of us and how we won the shit-luck lottery. We have all the problems.”\u003c/p>\n\u003cp>“Nazar seh bachau.” He utters Auntie Misbah’s oath against the evil eye so fervently that I laugh.\u003c/p>\n\u003cp>\u003cem>Famine comes when you lament the flood.\u003c/em> I hear Auntie Misbah say in my head. \u003cem>It could always be worse.\u003c/em>\u003c/p>\n\u003cp>“Do you think our adulthoods will make up for everything we had to deal with as kids?” I ask him.\u003c/p>\n\u003cp>“Like, we get out of here and you go to med school and I become a writer and our lives will be amazing?”\u003c/p>\n\u003cp>“They don’t have to be amazing. Just not…” My face throbs, “Not this.”\u003c/p>\n\u003cp>“You’re going to escape this place, Noor.” He looks over at me. “You’re going to become a doctor. Your adulthood is going to make up for all of it.”\u003c/p>\u003c/blockquote>\n\u003cp>https://youtu.be/sNp5WDG7NlE\u003c/p>\n\u003ch2>On what is bringing her joy right now\u003c/h2>\n\u003cp>I think there’s so much wonderful art being created. There are so many wonderful books out in the world right now. There’s so much fantastic music that’s being created.\u003c/p>\n\u003cp>I also take great joy from the young people in my own life. I’ve been so amazed by my kids and my nieces and nephews. Their positivity despite everything they’ve gone through in the past two years. How laughter is something that is just a part of their daily, hourly, a part of their life. There are times when I’m stressing over something, and in the background, I will hear my kids just busting up over something ridiculous. And it’s just this wonderful reminder to get out of my head and to put away some of these worries and to just let myself laugh.\u003c/p>\n\u003cp>That’s also a part of “All My Rage,” that there is so much hope there. There is humor. There is light in this story of some really difficult things, because that is often how we get through the most difficult parts of our life, with humor and friendship and hope.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sabaa Tahir’s novel “\u003ca href=\"https://www.penguinrandomhouse.com/books/625057/all-my-rage-by-sabaa-tahir/\">All My Rage\u003c/a>” comes out on March 1. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her new young adult novel, “\u003ca href=\"https://www.penguinrandomhouse.com/books/625057/all-my-rage-by-sabaa-tahir/\">All My Rage\u003c/a>,” author \u003ca href=\"https://sabaatahir.com/\">Sabaa Tahir\u003c/a> tells a story of cultural identity and growing up through the eyes of two teenage best friends. Noor and Salahudin are both Pakistani American, living in the small fictional town of Juniper, in California’s Mojave Desert. Noor wants nothing more than to go away to college and leave behind their rural town.\u003c/p>\n\u003cfigure id=\"attachment_11906203\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/All-My-Rage-COVER.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11906203\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/All-My-Rage-COVER-160x242.jpg\" alt=\"\" width=\"250\" height=\"378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-1020x1542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER.jpg 1278w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Penguin Random House\u003c/figcaption>\u003c/figure>\n\u003cp>Tahir is the bestselling author of the young adult fantasy series “\u003ca href=\"https://www.goodreads.com/series/153986-an-ember-in-the-ashes\">An Ember in the Ashes\u003c/a>,” which features a young woman of color as the hero fighting back against an oppressive empire. In contrast to her fantasy novels, Tahir mines her own experiences in her most recent book. Like her main character, Salahudin, she is the child of Pakistani immigrants who grew up in a rural town in the Mojave Desert, in her parents’ 18-room motel.\u003c/p>\n\u003cp>Tahir recently spoke with The California Report Magazine’s Sasha Khokha.\u003c/p>\n\u003cp>\u003cem>(Excerpts of this interview have been edited for length and clarity.)\u003c/em>\u003c/p>\n\u003ch2>On being shaped by the experience of growing up in her family’s motel\u003c/h2>\n\u003cp>I think the thing that I remember the most are all the different types of people who would come through. Everything I learned, from how to curse, to the different ways that people expressed kindness. We had a tenant once who paid us with a bird because I think he didn’t have enough money to make rent. But he had all these birds that he loved, that he kept in the room. We had a tenant once who [damaged] the room, [making] a hole in the wall or something, and he left without saying anything about it. But my parents found money in the room, and they assumed that that was his way of saying, “Hey, sorry about this. I hope this will pay for it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But we also had people who wouldn’t pay rent, who ruined the rooms, who called us names, who were abusive. It really was an experience of extremes. I was quiet, I loved reading. I was in my head a lot. And I think that there was so much more going on inside than I ever really expressed. So I would lose myself in books and reading and writing stories.\u003c/p>\n\u003cfigure id=\"attachment_11906170\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/Little-Sabaa-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11906170\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/Little-Sabaa-800x600.jpg\" alt=\"A young Pakistani-American girls stands on the grass smiling at the camera. She is wearing a pink dress with a white collar, and her hair pulled back with a headband. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Sabaa Tahir as a child. \u003ccite>(Courtesy of Sabaa Tahir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On writing for young adults\u003c/h2>\n\u003cp>I feel like 14 to 22 is an age of such change and such growth. So much of story is about the arc, about the change and the growth within a character. So to me, it seems like a natural fit to write about young adults. I love writing for children who are at a vulnerable time in their life and to write stories that are, in my mind, realistic but that also offer hope. Because as a young person myself, I really, really needed to see hope in the books that I read.\u003c/p>\u003c/div>",
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"content": "‘I love writing for children who are at a vulnerable time in their life and to write stories that are, in my mind, realistic but that also offer hope.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I think honesty is really important, showing the messy reality of these kids’ lives, both in the struggle but also in the beauty and in the humor — in allowing for a lack of resolution, or a resolution that is perhaps a little bit more ambiguous. Because the truth is that trauma doesn’t always leave us. We can heal from it. Sometimes we can shed it, but not always. I wanted to portray that realistically for young people because I don’t think young people are always taught how to deal with trauma. And yet young people go through immense amounts of trauma, whether adults want to admit it or not.\u003c/p>\n\u003ch2>On using music to express Noor’s emotions\u003c/h2>\n\u003cp>One of the songs that means so much to Noor is “\u003ca href=\"https://www.youtube.com/watch?v=8-r-V0uK4u0&ab_channel=SmashingPumpkinsVEVO\">Bullet with Butterfly Wings\u003c/a>” by [The] Smashing Pumpkins. And I think people who know the song will recognize the title of this book. It’s this ’90s anthem and it really encompasses this sense of rage that Noor feels that is buried very deep. Another song that Noor loves is by Masuma Anwar called “\u003ca href=\"https://www.youtube.com/watch?v=bEPenI-2WsA&ab_channel=GaaneShaane\">Tainu Ghul Gayaan\u003c/a>.” Anwar has this really deep voice and this incredible range.\u003c/p>\n\u003cp>Noor really struggles to express her feelings. When she speaks out loud, she ends up using short sentences, really having a hard time saying what she means. So one of the reasons why she loves Masuma Anwar so much is because this woman puts so much feeling into a single word.\u003c/p>\n\u003cp>Anna Leone’s song “Once” comes up on Noor’s playlist as Noor and Salahudin are driving together, and they’ve just shared some deep secrets with each other. This is a song that is all about regret and the past:\u003c/p>\n\u003cblockquote>\u003cp>I close my eyes and lean my head back. The road is smooth beneath the wheels. The window cool against the bruise on my cheek, and Anna Leone sings “Once” about what it means to move on from the past.\u003c/p>\n\u003cp>“Sometimes, Salahudin,” I say, “it feels like too much. I think about the shit we’ve read in school. Those books all about one problem. A kid who’s bullied. A kid who’s beaten. A kid who’s poor. And I think of us and how we won the shit-luck lottery. We have all the problems.”\u003c/p>\n\u003cp>“Nazar seh bachau.” He utters Auntie Misbah’s oath against the evil eye so fervently that I laugh.\u003c/p>\n\u003cp>\u003cem>Famine comes when you lament the flood.\u003c/em> I hear Auntie Misbah say in my head. \u003cem>It could always be worse.\u003c/em>\u003c/p>\n\u003cp>“Do you think our adulthoods will make up for everything we had to deal with as kids?” I ask him.\u003c/p>\n\u003cp>“Like, we get out of here and you go to med school and I become a writer and our lives will be amazing?”\u003c/p>\n\u003cp>“They don’t have to be amazing. Just not…” My face throbs, “Not this.”\u003c/p>\n\u003cp>“You’re going to escape this place, Noor.” He looks over at me. “You’re going to become a doctor. Your adulthood is going to make up for all of it.”\u003c/p>\u003c/blockquote>\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/sNp5WDG7NlE'\n title='//www.youtube.com/embed/sNp5WDG7NlE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>On what is bringing her joy right now\u003c/h2>\n\u003cp>I think there’s so much wonderful art being created. There are so many wonderful books out in the world right now. There’s so much fantastic music that’s being created.\u003c/p>\n\u003cp>I also take great joy from the young people in my own life. I’ve been so amazed by my kids and my nieces and nephews. Their positivity despite everything they’ve gone through in the past two years. How laughter is something that is just a part of their daily, hourly, a part of their life. There are times when I’m stressing over something, and in the background, I will hear my kids just busting up over something ridiculous. And it’s just this wonderful reminder to get out of my head and to put away some of these worries and to just let myself laugh.\u003c/p>\n\u003cp>That’s also a part of “All My Rage,” that there is so much hope there. There is humor. There is light in this story of some really difficult things, because that is often how we get through the most difficult parts of our life, with humor and friendship and hope.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sabaa Tahir’s novel “\u003ca href=\"https://www.penguinrandomhouse.com/books/625057/all-my-rage-by-sabaa-tahir/\">All My Rage\u003c/a>” comes out on March 1. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>California and Oil From the Amazon\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">A quarter of the crude oil that California imports comes from the Amazon region. In fact, California imports more oil from Ecuador than from Saudi Arabia or Iraq, and the state is the world’s largest consumer of Ecuadorian oil, according to a \u003c/span>\u003ca href=\"https://www.stand.earth/LinkedFates\">\u003cspan style=\"font-weight: 400\">recent report\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The study, released by Amazon Watch and Stand.earth, also examines how fossil fuel extraction is affecting the communities and environment of the Ecuadorian rainforest.\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\">Kevin Koenig, Amazon Watch climate and energy director\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Tyson Miller, Stand.earth Amazon program director\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>This Week in California News and Politics\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week, Gov. Gavin Newsom released his long-term plan for living with COVID-19 as the virus eventually becomes endemic. Meanwhile, a new \u003c/span>\u003ca href=\"https://escholarship.org/uc/item/6ft4h17c\">\u003cspan style=\"font-weight: 400\">poll\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> by the Institute of Governmental Studies finds that Californians are increasingly concerned about rising crime. We also chew on the latest political news, including legislation that aims to control the wild pig population, the run-off election for the state Assembly seat recently vacated by David Chiu, and what San Francisco District Attorney Chesa Boudin can do about the Asian American community’s concern about hate crimes.\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\">Joe Fitzgerald Rodriguez, KQED reporter and digital producer\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Marisa Lagos, KQED politics and government correspondent\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Something Beautiful: Lands End Exhibit\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week’s Something Beautiful features a new art exhibit titled “Lands End,” which examines humanity’s relationship with the environment. The exhibit is organized by the FOR-SITE Foundation and runs through March 22. You can read our review of the show \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13906957/lands-end-for-site-cliff-house-review\">\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\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>California and Oil From the Amazon\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">A quarter of the crude oil that California imports comes from the Amazon region. In fact, California imports more oil from Ecuador than from Saudi Arabia or Iraq, and the state is the world’s largest consumer of Ecuadorian oil, according to a \u003c/span>\u003ca href=\"https://www.stand.earth/LinkedFates\">\u003cspan style=\"font-weight: 400\">recent report\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The study, released by Amazon Watch and Stand.earth, also examines how fossil fuel extraction is affecting the communities and environment of the Ecuadorian rainforest.\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\">Kevin Koenig, Amazon Watch climate and energy director\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Tyson Miller, Stand.earth Amazon program director\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>This Week in California News and Politics\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week, Gov. Gavin Newsom released his long-term plan for living with COVID-19 as the virus eventually becomes endemic. Meanwhile, a new \u003c/span>\u003ca href=\"https://escholarship.org/uc/item/6ft4h17c\">\u003cspan style=\"font-weight: 400\">poll\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> by the Institute of Governmental Studies finds that Californians are increasingly concerned about rising crime. We also chew on the latest political news, including legislation that aims to control the wild pig population, the run-off election for the state Assembly seat recently vacated by David Chiu, and what San Francisco District Attorney Chesa Boudin can do about the Asian American community’s concern about hate crimes.\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\">Joe Fitzgerald Rodriguez, KQED reporter and digital producer\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Marisa Lagos, KQED politics and government correspondent\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Something Beautiful: Lands End Exhibit\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week’s Something Beautiful features a new art exhibit titled “Lands End,” which examines humanity’s relationship with the environment. The exhibit is organized by the FOR-SITE Foundation and runs through March 22. You can read our review of the show \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13906957/lands-end-for-site-cliff-house-review\">\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Hope for Community': Storied Chinatown Kung Fu School Gears Up for First Lunar New Year Parade Since Pandemic Began",
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"content": "\u003cp>On a recent sunny Saturday morning, children and parents filed into the Yau Kung Moon School in San Francisco’s Chinatown to practice their martial arts techniques, train with traditional weapons and practice lion dancing ahead of their performance in this weekend’s \u003ca href=\"https://chineseparade.com/\">Chinese New Year Parade on Feb. 19\u003c/a>.\u003c/p>\n\u003cp>The Yau Kung Moon School — named for the southern Shaolin kung fu style it teaches — has a practice room in a building on Waverly Place just off Clay Street filled with trophies, honors and banners. Spears, staffs and swords are placed neatly in the corner behind the yellow-and-red-colored dragon costumes the school is known for. Performers wear yellow shirts, yellow pants, a red sash and traditional, striped red-and-gold leggings.\u003c/p>\n\u003cp>Led by Richard Ow (referred to as “sifu,” meaning teacher), students learn the fundamentals of the Yau Kung Moon style, and the Nam Si Buk Mo lion dance style. Ow currently teaches 50 students and has trained 300 students since he became a sifu in 2000.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Sifu Richard Ow, Yau Kung Moon School\"]‘The Lunar New Year parade is about bringing out positivity and hope for community. We bring in members that have been with us for 22 years, and it’s like a family gathering again.’[/pullquote]“Sifu has a more in-depth meaning than ‘teacher,’” said Ow. “So first it’s like a coach. There’s a Chinese saying: ‘The student will watch the teacher and the teacher will watch the student.’ You’ll see in three to six years if the student is dedicated or worth your time. In the old-school way of thinking, the sifu doesn’t waste time. They let their younger instructors teach.”\u003c/p>\n\u003cp>The school has been in San Francisco for more than 50 years, and has participated in 36 Lunar New Year parades. Students’ ages range from 4 to 40 years old. The youngest students and beginners will march in the New Year parade, while students who have practiced kung fu will perform short sets for the crowd. Intermediate and advanced students will perform the lion dancing and help the younger students.\u003c/p>\n\u003cfigure id=\"attachment_11904684\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11904684\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/RS53565_004_SanFrancisco_YauKungMoonPractice_01292022-qut.jpg\" alt=\"Kung fu instructor holds blocking pad while young girl student punches inside a kung fu studio\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53565_004_SanFrancisco_YauKungMoonPractice_01292022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53565_004_SanFrancisco_YauKungMoonPractice_01292022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53565_004_SanFrancisco_YauKungMoonPractice_01292022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53565_004_SanFrancisco_YauKungMoonPractice_01292022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53565_004_SanFrancisco_YauKungMoonPractice_01292022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Richard Ow teaches a beginners martial arts class at Yau Kung Moon, a southern Shaolin kung fu studio, in Chinatown, San Francisco, on Jan. 29, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ow was born and raised in San Francisco in a traditional Chinese household.\u003c/p>\n\u003cp>“My dad had a bakery on Washington Street in Chinatown and would work for over 12 hours regularly,” he said. “My sisters and I also helped with the business.”\u003c/p>\n\u003cp>Ow remembers vendors putting posters of martial arts movies on the window of the bakery and handing his father free movie tickets. His father would take him to see the films, and Ow grew up idolizing martial artists like Bruce Lee and Jackie Chan.\u003c/p>\n\u003cp>“Growing up, I was a skinny, weak kid so the films were a big inspiration,” said Ow.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Ow was 11 years old, his father’s friend recommended taking him to visit the Yau Kung Moon School. Ow instantly fell in love with the school and became a devoted student who prided himself on being the first one to practice and the last one to leave.\u003c/p>\n\u003cp>He studied under Sifu Lok Sang Lee beginning in 1987, worked hard, and within two years had entered his first national kung fu competition in San Francisco. He won first place using Yau Kung Moon’s broadsword form for short weapons and the “Ying Ching” hand form. By the time he was 15, he was helping to instruct other students.\u003c/p>\n\u003cfigure id=\"attachment_11905615\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11905615\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/RS53582_025_SanFrancisco_YauKungMoonPractice_01292022-qut.jpg\" alt=\"instructor and student, both wearing masks, practice a hand form with arms symmetrically raised\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53582_025_SanFrancisco_YauKungMoonPractice_01292022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53582_025_SanFrancisco_YauKungMoonPractice_01292022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53582_025_SanFrancisco_YauKungMoonPractice_01292022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53582_025_SanFrancisco_YauKungMoonPractice_01292022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53582_025_SanFrancisco_YauKungMoonPractice_01292022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rebecca Lee, 23, a senior instructor, helps Pandora, 9, during an intermediate martial arts class at Yau Kung Moon School in Chinatown on Jan. 29, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bringing out positivity and hope for community’\u003c/h2>\n\u003cp>The last Lunar New Year parade took place two years ago, just before the pandemic shut down many activities that would normally be happening throughout the month. This year, excitement has been building as the parade — the biggest Lunar New Year parade outside Asia — prepares to roar back in the Year of the Tiger.\u003c/p>\n\u003cp>Folk dancers, marching bands, stilt walkers and Chinese acrobats will join martial arts schools such as Yau Kung Moon, the Tat Wong Kung Fu Academy and Leung’s White Crane school, which performs at the parade’s finale.\u003c/p>\n\u003cp>“The Lunar New Year parade is about bringing out positivity and hope for community,” said Ow. “For the performance, we bring in members that have been with us for 22 years, and it’s like a family gathering again. People still come out rain or shine. We represent our community positively in Chinatown.”\u003c/p>\n\u003cp>Vincent Lau, a resident of South San Francisco, brought his two children to practice at Yau Kung Moon School on Saturday morning. His children are 8 and 10 years old.\u003c/p>\n\u003cp>“They saw their cousin performing and decided they wanted to give it a try,” said Lau. “They’ve been participating since last year in May.”\u003c/p>\n\u003cfigure id=\"attachment_11905619\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11905619\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/026_KQED_YauKungMoonChinatownPerformance_01302022-1.jpg\" alt=\"young children wearing white Yau Kung Moon shirts and gold leggings with red sashes hold onto a railing while looking toward an outdoor stage\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/026_KQED_YauKungMoonChinatownPerformance_01302022-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/026_KQED_YauKungMoonChinatownPerformance_01302022-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/026_KQED_YauKungMoonChinatownPerformance_01302022-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/026_KQED_YauKungMoonChinatownPerformance_01302022-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/026_KQED_YauKungMoonChinatownPerformance_01302022-1-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Young Yau Kung Moon students prepare to take the stage to perform at the Chinese New Year Flower Market Fair in Chinatown, San Francisco, on Jan. 30, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lau has been going to see the Lunar New Year parade for years and would watch it on TV when he got older. He watches his children practice with Ow and commends him for his dedication.\u003c/p>\n\u003cp>“I can tell Sifu [Ow] really likes teaching and working with the community,” said Lau.\u003c/p>\n\u003cp>Lau said the decision to get his children involved with the Yau Kung Moon School was partly influenced by news of ongoing violent attacks and hate targeting Asian and Asian American people across the United States.\u003c/p>\n\u003cp>Stop AAPI Hate — a project based out of San Francisco State University that, among other efforts, asks members of Asian American and Pacific Islander communities across the nation to self-report acts of hate and discrimination — \u003ca href=\"https://stopaapihate.org/national-report-through-september-2021/\">found that there were more than 10,000 incidents of anti-Asian hate from March 2020 through September 2021\u003c/a>. \u003ca href=\"https://stopaapihate.org/wp-content/uploads/2021/11/21-SAH-NationalReport2-v2.pdf\">California ranked first out of 20 states\u003c/a> with the largest percentage of hate incident reports at 37.8%.\u003c/p>\n\u003cp>[aside postID=news_11876061 hero='https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48125_003_SanFrancisco_RiseUpRally_03262021-qut-1020x680.jpeg']“My wife has that fear of bad things might happen, and this program is a way to help our kids protect themselves,” said Lau.\u003c/p>\n\u003cp>Brandon Wong, a 25-year-old from Daly City, is one of Yau Kung Moon School’s senior instructors and has been training and performing since he was in middle school. He’s been working with Sifu Richard Ow for more than 14 years.\u003c/p>\n\u003cp>“My mother knew one of the instructors and he would see me around town and egged me on to learn,” said Wong. “I decided to give it a try and fell in love with it. I started coming out every Saturday and Sunday to practice. It’s nice to exercise, but learning lion dancing and martial arts helped build my confidence. Learning and practicing with other people from the community was nice.”\u003c/p>\n\u003cp>When Wong first started practicing, there weren’t as many kids involved, so all the participants (around 20 people) trained together, no matter their skill level. The program has since grown, and classes are now separated by skill level: beginner, intermediate and advanced. Wong has participated in at least 12 parade performances, and he’s also a part of the street fair performances held on Sundays in Chinatown. There’s a stage set up where students are encouraged to perform their moves with a demonstration of fighting techniques using weapons, hand-to-hand combat and lion dancing.\u003c/p>\n\u003cfigure id=\"attachment_11904687\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11904687\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/RS53654_047_SanFrancisco_YauKungMoonPerformance_01302022-qut.jpg\" alt=\"three adult Yau Kung Moon members wearing white shirts with green leggings stand outside near a stage\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53654_047_SanFrancisco_YauKungMoonPerformance_01302022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53654_047_SanFrancisco_YauKungMoonPerformance_01302022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53654_047_SanFrancisco_YauKungMoonPerformance_01302022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53654_047_SanFrancisco_YauKungMoonPerformance_01302022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53654_047_SanFrancisco_YauKungMoonPerformance_01302022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Yau Kung Moon lion dance team talks before performing at the Chinese New Year Flower Market Fair in Chinatown, San Francisco, on Jan. 30, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong remembers the adrenaline rush he felt the first time he performed in the parade.\u003c/p>\n\u003cp>“The idea of being on TV as a kid was cool,” said Wong. “Overall, it was a really fun experience. After around three years of performing, my sisters got involved so it became a family thing. My older sister assists with the online classes.”\u003c/p>\n\u003cp>When the pandemic shut down in-person practice, Ow and his instructors switched to teaching online through Zoom classes.\u003c/p>\n\u003cp>“We still want to make sure everyone’s comfortable, so we still offer online classes,” said Wong. “Online classes make teaching a little more difficult when there’s only one view from a webcam — and correcting stances, posture and techniques is important.”\u003c/p>\n\u003cp>Wong helps out with performances and in-person practice. With a 1-year-old son at home, Wong says his involvement with the program has shifted slightly but he makes time when Ow needs assistance. He helps teach three days a week at every skill level.\u003c/p>\n\u003cfigure id=\"attachment_11905611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11905611\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/RS53657_050_SanFrancisco_YauKungMoonPerformance_01302022-qut.jpg\" alt=\"man wearing white and red shirt, traditional bright yellow and red leggings, performs a kung fu form on an outdoor stage\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53657_050_SanFrancisco_YauKungMoonPerformance_01302022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53657_050_SanFrancisco_YauKungMoonPerformance_01302022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53657_050_SanFrancisco_YauKungMoonPerformance_01302022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53657_050_SanFrancisco_YauKungMoonPerformance_01302022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53657_050_SanFrancisco_YauKungMoonPerformance_01302022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Wong, 25, a senior instructor at Yau Kung Moon, performs at the Chinese New Year Flower Market Fair in Chinatown, San Francisco, on Jan. 30, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ow implemented a new system of distinguishing different skill levels by introducing colored sashes to his students modeled after the colors used in the Chinese zodiac. There are 10 levels and colors; beginners wear gray sashes around their waists and work their way up to red sashes, which instructors wear.\u003c/p>\n\u003cp>“In the old-school way, there wasn’t this type of structured system and there was no way for students to gauge how they were improving,” said Ow. “Now, it’s set up for a student to be able to learn the system and pass it on to future generations.”\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Rebecca Lee, senior instructor, Yau Kung Moon School\"]‘It was captivating to see the costumes and how people were able to move the lion’s head in such a way that it looked realistic.’[/pullquote]Yau Kung Moon was introduced to the public in China in 1924 by founding Grandmaster Ha Han Hong — but its rich history extends back to the Tang dynasty. Ha was taught by a Shaolin monk and began establishing schools at the monk’s request. Prior to that, the style was primarily practiced in secret at southern Shaolin temples and villages, with monks selecting one worthy disciple to teach and pass along to the next generation. Much of the history of Yau Kung Moon was kept alive through word of mouth rather than written texts.\u003c/p>\n\u003cp>Wong says while everyone comes into practice at different skill levels, it took him about a year of practice before he started performing. His first performance was lion dancing at the Chinatown weekend street fair. Being in sync and practicing with a partner takes time and at least a few years of practice, depending on the complexity of the performance, Wong said.\u003c/p>\n\u003cp>Rebecca Lee started coming to the Yau Kung Moon school when she was 6 years old. She remembers being excited to see the lion dance performances and people practicing kung fu.\u003c/p>\n\u003cp>“It was captivating to see the costumes and how people were able to move the lion’s head in such a way that it looked realistic,” said Lee.\u003c/p>\n\u003cfigure id=\"attachment_11904685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11904685\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rebecca Lee, 23, a senior instructor, helps students practice martial arts during a beginner class at Yau Kung Moon, a southern Shaolin kung fu studio, in Chinatown, San Francisco, on Jan. 29, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lee’s father brought her to the school one day, and after some convincing, she agreed to join and start learning. Lee is now 23 and has been a senior instructor since 2016. She primarily helps the younger children who need more assistance with their coordination and fundamentals. Lee said she’s glad to see more women getting involved in what’s been seen as a male-dominated activity.\u003c/p>\n\u003cp>The Yau Kung Moon School has a great reputation among other martial arts schools as being strong competitors and among the community at large for their performances. Ow encourages people who aren’t familiar with the Lunar New Year holiday to participate in festivities and come see the parade.\u003c/p>\n\u003cp>As for the school, he says the important thing to remember when practicing is to remain humble and open to learning. Ow is planning a Kung Fu Day event on March 19, where he will invite sifus from all over the Bay Area to perform and showcase their styles in an exhibition as a sign of solidarity.\u003c/p>\n\u003cp>“I don’t consider myself a master,” said Ow. “Even though it’s been 35 years, I still have more to learn. I tell my instructors that as long as you are teaching someone, it doesn’t matter if it’s one person or 10 people. What’s important is keeping the culture, tradition and style alive.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Excitement is building for SF's first Lunar New Year parade since 2020 — and performers and students from Chinatown institution Yau Kung Moon School will be at the center of the celebration.",
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"title": "'Hope for Community': Storied Chinatown Kung Fu School Gears Up for First Lunar New Year Parade Since Pandemic Began | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent sunny Saturday morning, children and parents filed into the Yau Kung Moon School in San Francisco’s Chinatown to practice their martial arts techniques, train with traditional weapons and practice lion dancing ahead of their performance in this weekend’s \u003ca href=\"https://chineseparade.com/\">Chinese New Year Parade on Feb. 19\u003c/a>.\u003c/p>\n\u003cp>The Yau Kung Moon School — named for the southern Shaolin kung fu style it teaches — has a practice room in a building on Waverly Place just off Clay Street filled with trophies, honors and banners. Spears, staffs and swords are placed neatly in the corner behind the yellow-and-red-colored dragon costumes the school is known for. Performers wear yellow shirts, yellow pants, a red sash and traditional, striped red-and-gold leggings.\u003c/p>\n\u003cp>Led by Richard Ow (referred to as “sifu,” meaning teacher), students learn the fundamentals of the Yau Kung Moon style, and the Nam Si Buk Mo lion dance style. Ow currently teaches 50 students and has trained 300 students since he became a sifu in 2000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘The Lunar New Year parade is about bringing out positivity and hope for community. We bring in members that have been with us for 22 years, and it’s like a family gathering again.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Sifu has a more in-depth meaning than ‘teacher,’” said Ow. “So first it’s like a coach. There’s a Chinese saying: ‘The student will watch the teacher and the teacher will watch the student.’ You’ll see in three to six years if the student is dedicated or worth your time. In the old-school way of thinking, the sifu doesn’t waste time. They let their younger instructors teach.”\u003c/p>\n\u003cp>The school has been in San Francisco for more than 50 years, and has participated in 36 Lunar New Year parades. Students’ ages range from 4 to 40 years old. The youngest students and beginners will march in the New Year parade, while students who have practiced kung fu will perform short sets for the crowd. Intermediate and advanced students will perform the lion dancing and help the younger students.\u003c/p>\n\u003cfigure id=\"attachment_11904684\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11904684\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/RS53565_004_SanFrancisco_YauKungMoonPractice_01292022-qut.jpg\" alt=\"Kung fu instructor holds blocking pad while young girl student punches inside a kung fu studio\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53565_004_SanFrancisco_YauKungMoonPractice_01292022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53565_004_SanFrancisco_YauKungMoonPractice_01292022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53565_004_SanFrancisco_YauKungMoonPractice_01292022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53565_004_SanFrancisco_YauKungMoonPractice_01292022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53565_004_SanFrancisco_YauKungMoonPractice_01292022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Richard Ow teaches a beginners martial arts class at Yau Kung Moon, a southern Shaolin kung fu studio, in Chinatown, San Francisco, on Jan. 29, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ow was born and raised in San Francisco in a traditional Chinese household.\u003c/p>\n\u003cp>“My dad had a bakery on Washington Street in Chinatown and would work for over 12 hours regularly,” he said. “My sisters and I also helped with the business.”\u003c/p>\n\u003cp>Ow remembers vendors putting posters of martial arts movies on the window of the bakery and handing his father free movie tickets. His father would take him to see the films, and Ow grew up idolizing martial artists like Bruce Lee and Jackie Chan.\u003c/p>\n\u003cp>“Growing up, I was a skinny, weak kid so the films were a big inspiration,” said Ow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Ow was 11 years old, his father’s friend recommended taking him to visit the Yau Kung Moon School. Ow instantly fell in love with the school and became a devoted student who prided himself on being the first one to practice and the last one to leave.\u003c/p>\n\u003cp>He studied under Sifu Lok Sang Lee beginning in 1987, worked hard, and within two years had entered his first national kung fu competition in San Francisco. He won first place using Yau Kung Moon’s broadsword form for short weapons and the “Ying Ching” hand form. By the time he was 15, he was helping to instruct other students.\u003c/p>\n\u003cfigure id=\"attachment_11905615\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11905615\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/RS53582_025_SanFrancisco_YauKungMoonPractice_01292022-qut.jpg\" alt=\"instructor and student, both wearing masks, practice a hand form with arms symmetrically raised\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53582_025_SanFrancisco_YauKungMoonPractice_01292022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53582_025_SanFrancisco_YauKungMoonPractice_01292022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53582_025_SanFrancisco_YauKungMoonPractice_01292022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53582_025_SanFrancisco_YauKungMoonPractice_01292022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53582_025_SanFrancisco_YauKungMoonPractice_01292022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rebecca Lee, 23, a senior instructor, helps Pandora, 9, during an intermediate martial arts class at Yau Kung Moon School in Chinatown on Jan. 29, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bringing out positivity and hope for community’\u003c/h2>\n\u003cp>The last Lunar New Year parade took place two years ago, just before the pandemic shut down many activities that would normally be happening throughout the month. This year, excitement has been building as the parade — the biggest Lunar New Year parade outside Asia — prepares to roar back in the Year of the Tiger.\u003c/p>\n\u003cp>Folk dancers, marching bands, stilt walkers and Chinese acrobats will join martial arts schools such as Yau Kung Moon, the Tat Wong Kung Fu Academy and Leung’s White Crane school, which performs at the parade’s finale.\u003c/p>\n\u003cp>“The Lunar New Year parade is about bringing out positivity and hope for community,” said Ow. “For the performance, we bring in members that have been with us for 22 years, and it’s like a family gathering again. People still come out rain or shine. We represent our community positively in Chinatown.”\u003c/p>\n\u003cp>Vincent Lau, a resident of South San Francisco, brought his two children to practice at Yau Kung Moon School on Saturday morning. His children are 8 and 10 years old.\u003c/p>\n\u003cp>“They saw their cousin performing and decided they wanted to give it a try,” said Lau. “They’ve been participating since last year in May.”\u003c/p>\n\u003cfigure id=\"attachment_11905619\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11905619\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/026_KQED_YauKungMoonChinatownPerformance_01302022-1.jpg\" alt=\"young children wearing white Yau Kung Moon shirts and gold leggings with red sashes hold onto a railing while looking toward an outdoor stage\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/026_KQED_YauKungMoonChinatownPerformance_01302022-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/026_KQED_YauKungMoonChinatownPerformance_01302022-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/026_KQED_YauKungMoonChinatownPerformance_01302022-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/026_KQED_YauKungMoonChinatownPerformance_01302022-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/026_KQED_YauKungMoonChinatownPerformance_01302022-1-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Young Yau Kung Moon students prepare to take the stage to perform at the Chinese New Year Flower Market Fair in Chinatown, San Francisco, on Jan. 30, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lau has been going to see the Lunar New Year parade for years and would watch it on TV when he got older. He watches his children practice with Ow and commends him for his dedication.\u003c/p>\n\u003cp>“I can tell Sifu [Ow] really likes teaching and working with the community,” said Lau.\u003c/p>\n\u003cp>Lau said the decision to get his children involved with the Yau Kung Moon School was partly influenced by news of ongoing violent attacks and hate targeting Asian and Asian American people across the United States.\u003c/p>\n\u003cp>Stop AAPI Hate — a project based out of San Francisco State University that, among other efforts, asks members of Asian American and Pacific Islander communities across the nation to self-report acts of hate and discrimination — \u003ca href=\"https://stopaapihate.org/national-report-through-september-2021/\">found that there were more than 10,000 incidents of anti-Asian hate from March 2020 through September 2021\u003c/a>. \u003ca href=\"https://stopaapihate.org/wp-content/uploads/2021/11/21-SAH-NationalReport2-v2.pdf\">California ranked first out of 20 states\u003c/a> with the largest percentage of hate incident reports at 37.8%.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“My wife has that fear of bad things might happen, and this program is a way to help our kids protect themselves,” said Lau.\u003c/p>\n\u003cp>Brandon Wong, a 25-year-old from Daly City, is one of Yau Kung Moon School’s senior instructors and has been training and performing since he was in middle school. He’s been working with Sifu Richard Ow for more than 14 years.\u003c/p>\n\u003cp>“My mother knew one of the instructors and he would see me around town and egged me on to learn,” said Wong. “I decided to give it a try and fell in love with it. I started coming out every Saturday and Sunday to practice. It’s nice to exercise, but learning lion dancing and martial arts helped build my confidence. Learning and practicing with other people from the community was nice.”\u003c/p>\n\u003cp>When Wong first started practicing, there weren’t as many kids involved, so all the participants (around 20 people) trained together, no matter their skill level. The program has since grown, and classes are now separated by skill level: beginner, intermediate and advanced. Wong has participated in at least 12 parade performances, and he’s also a part of the street fair performances held on Sundays in Chinatown. There’s a stage set up where students are encouraged to perform their moves with a demonstration of fighting techniques using weapons, hand-to-hand combat and lion dancing.\u003c/p>\n\u003cfigure id=\"attachment_11904687\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11904687\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/RS53654_047_SanFrancisco_YauKungMoonPerformance_01302022-qut.jpg\" alt=\"three adult Yau Kung Moon members wearing white shirts with green leggings stand outside near a stage\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53654_047_SanFrancisco_YauKungMoonPerformance_01302022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53654_047_SanFrancisco_YauKungMoonPerformance_01302022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53654_047_SanFrancisco_YauKungMoonPerformance_01302022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53654_047_SanFrancisco_YauKungMoonPerformance_01302022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53654_047_SanFrancisco_YauKungMoonPerformance_01302022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Yau Kung Moon lion dance team talks before performing at the Chinese New Year Flower Market Fair in Chinatown, San Francisco, on Jan. 30, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong remembers the adrenaline rush he felt the first time he performed in the parade.\u003c/p>\n\u003cp>“The idea of being on TV as a kid was cool,” said Wong. “Overall, it was a really fun experience. After around three years of performing, my sisters got involved so it became a family thing. My older sister assists with the online classes.”\u003c/p>\n\u003cp>When the pandemic shut down in-person practice, Ow and his instructors switched to teaching online through Zoom classes.\u003c/p>\n\u003cp>“We still want to make sure everyone’s comfortable, so we still offer online classes,” said Wong. “Online classes make teaching a little more difficult when there’s only one view from a webcam — and correcting stances, posture and techniques is important.”\u003c/p>\n\u003cp>Wong helps out with performances and in-person practice. With a 1-year-old son at home, Wong says his involvement with the program has shifted slightly but he makes time when Ow needs assistance. He helps teach three days a week at every skill level.\u003c/p>\n\u003cfigure id=\"attachment_11905611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11905611\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/RS53657_050_SanFrancisco_YauKungMoonPerformance_01302022-qut.jpg\" alt=\"man wearing white and red shirt, traditional bright yellow and red leggings, performs a kung fu form on an outdoor stage\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53657_050_SanFrancisco_YauKungMoonPerformance_01302022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53657_050_SanFrancisco_YauKungMoonPerformance_01302022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53657_050_SanFrancisco_YauKungMoonPerformance_01302022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53657_050_SanFrancisco_YauKungMoonPerformance_01302022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/RS53657_050_SanFrancisco_YauKungMoonPerformance_01302022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Wong, 25, a senior instructor at Yau Kung Moon, performs at the Chinese New Year Flower Market Fair in Chinatown, San Francisco, on Jan. 30, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ow implemented a new system of distinguishing different skill levels by introducing colored sashes to his students modeled after the colors used in the Chinese zodiac. There are 10 levels and colors; beginners wear gray sashes around their waists and work their way up to red sashes, which instructors wear.\u003c/p>\n\u003cp>“In the old-school way, there wasn’t this type of structured system and there was no way for students to gauge how they were improving,” said Ow. “Now, it’s set up for a student to be able to learn the system and pass it on to future generations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yau Kung Moon was introduced to the public in China in 1924 by founding Grandmaster Ha Han Hong — but its rich history extends back to the Tang dynasty. Ha was taught by a Shaolin monk and began establishing schools at the monk’s request. Prior to that, the style was primarily practiced in secret at southern Shaolin temples and villages, with monks selecting one worthy disciple to teach and pass along to the next generation. Much of the history of Yau Kung Moon was kept alive through word of mouth rather than written texts.\u003c/p>\n\u003cp>Wong says while everyone comes into practice at different skill levels, it took him about a year of practice before he started performing. His first performance was lion dancing at the Chinatown weekend street fair. Being in sync and practicing with a partner takes time and at least a few years of practice, depending on the complexity of the performance, Wong said.\u003c/p>\n\u003cp>Rebecca Lee started coming to the Yau Kung Moon school when she was 6 years old. She remembers being excited to see the lion dance performances and people practicing kung fu.\u003c/p>\n\u003cp>“It was captivating to see the costumes and how people were able to move the lion’s head in such a way that it looked realistic,” said Lee.\u003c/p>\n\u003cfigure id=\"attachment_11904685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11904685\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/RS53569_007_SanFrancisco_YauKungMoonPractice_01292022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rebecca Lee, 23, a senior instructor, helps students practice martial arts during a beginner class at Yau Kung Moon, a southern Shaolin kung fu studio, in Chinatown, San Francisco, on Jan. 29, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lee’s father brought her to the school one day, and after some convincing, she agreed to join and start learning. Lee is now 23 and has been a senior instructor since 2016. She primarily helps the younger children who need more assistance with their coordination and fundamentals. Lee said she’s glad to see more women getting involved in what’s been seen as a male-dominated activity.\u003c/p>\n\u003cp>The Yau Kung Moon School has a great reputation among other martial arts schools as being strong competitors and among the community at large for their performances. Ow encourages people who aren’t familiar with the Lunar New Year holiday to participate in festivities and come see the parade.\u003c/p>\n\u003cp>As for the school, he says the important thing to remember when practicing is to remain humble and open to learning. Ow is planning a Kung Fu Day event on March 19, where he will invite sifus from all over the Bay Area to perform and showcase their styles in an exhibition as a sign of solidarity.\u003c/p>\n\u003cp>“I don’t consider myself a master,” said Ow. “Even though it’s been 35 years, I still have more to learn. I tell my instructors that as long as you are teaching someone, it doesn’t matter if it’s one person or 10 people. What’s important is keeping the culture, tradition and style alive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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