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"content": "\u003cp>A coalition of more than 30 tech accountability groups and national political organizations, upset with what they say has been Facebook’s ham-handed approach to content moderation, has organized a four-day \u003ca href=\"https://thefacebooklogout.com/demands/\" target=\"_blank\" rel=\"noopener noreferrer\">boycott of the social media behemoth\u003c/a> (now known as Meta), beginning Wednesday.\u003c/p>\n\u003cp>“Facebook spends more energy trying to mend their broken public image than fixing what’s happening on their platform and at the company,” the Kairos Fellowship, a nonprofit focused on advancing racial and economic justice through tech accountability, said in a statement.\u003c/p>\n\u003cp>The group, which organized the boycott in partnership with a wide swath of mostly progressive organizations — including NARAL Pro-Choice America and MoveOn — is urging users to stay away from Facebook and Instagram through Saturday.\u003c/p>\n\u003cp>More than 51,000 people have pledged to log out, “amplifying our demands for Facebook to curb disinformation, increase transparency on content moderation decisions and halt surveillance advertising,” Kairos’s executive director, Mariana Ruiz Firmat, said.\u003c/p>\n\u003cp>Last year, following George Floyd’s murder by a Minneapolis police offer, a number of big tech and communications companies, including Microsoft, Verizon and HP, stopped advertising on Facebook and Instagram, in some cases for a month, in an effort to show solidarity with protesters who said Facebook wasn’t doing enough to counter hate speech on its platform.\u003c/p>\n\u003cp>But there’s been no significant repeat pullout, even as Facebook has recently come under fire for a spate of potentially major transgressions — from allegations of “\u003ca href=\"https://www.nbcnews.com/pop-culture/pop-culture-news/months-after-tiktok-apologized-black-creators-many-say-little-has-n1256726\" target=\"_blank\" rel=\"noopener noreferrer\">shadow-banning\u003c/a>” of BIPOC activists, to evidence the company knowingly promoted platforms that harm children and incite political violence, to reports detailing the \u003ca href=\"https://www.wsj.com/articles/facebook-files-xcheck-zuckerberg-elite-rules-11631541353\">more lenient approach it has taken to misinformation and disinformation disseminated by its “VIP” users\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11895723\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11895723 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/1.jpg\" alt=\"A coalition of more than 30 national organizations like The Women’s March, MoveOn, NARAL Pro-Choice America, United We Dream and more have endorsed the campaign to log off Facebook and Instagram temporarily in a bid to pressure Meta to reform its economic model built on attracting advertisers by algorithmically encouraging users to spend more time on the sites viewing politically and culturally divisive content.\" width=\"1620\" height=\"911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/1.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/1-1536x864.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A coalition of more than 30 national organizations, including The Women’s March, MoveOn, NARAL Pro-Choice America and United We Dream, has endorsed the campaign to log off Facebook and Instagram temporarily in a bid to pressure its parent company, Meta, to reform its economic model, which is built on attracting advertisers by algorithmically encouraging users to spend more time viewing politically and culturally divisive content on its sites. \u003ccite>(Courtesy of Kairos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A number of users taking part in the boycott, however, say they are doing so out of frustration, after their groups on the platform were removed, with no explanation or recourse from the company. The company, they insist, needs to start treating its nonpaying users like valued customers.\u003c/p>\n\u003cp>Algorithms paired with virtually no human customer service have made life difficult for people like Nick Wright of San José. An engineer by day, at night he runs \u003ca href=\"https://www.facebook.com/HistoryAlliance/\" target=\"_blank\" rel=\"noopener noreferrer\">History Alliance\u003c/a>, a collection of roughly 30 Facebook history groups that collectively have more than 1 million members.\u003c/p>\n\u003cp>Wright says he understands why Facebook uses artificial intelligence to screen for an onslaught of offensive content like racist slurs or calls to violence, material CEO Mark Zuckerberg has repeatedly pledged to control over the years. But Wright says the software often functions like a “sledgehammer.”\u003c/p>\n\u003cp>“They start deleting your member comments. They start deleting threads. We’ve even had our groups deleted by Facebook without comment, without notice,” he said.\u003c/p>\n\u003cp>Wright says Facebook deleted his alliance’s \u003ca href=\"https://www.facebook.com/groups/WWIIHistory/\" target=\"_blank\" rel=\"noopener noreferrer\">WWII & Military History\u003c/a> group. In retrospect, he says, he presumes there were too many instances when a post or comment included a slur that was common in the 1930s and 1940s.\u003c/p>\n\u003cp>[aside postID=\"news_11813372,news_11827831,news_11866331\" label=\"Related Coverage\"]But there was no communication or warning from the company before the group was deleted, he said. Other groups he’s been involved in have also been suspended because, he thinks, its members have posted or shared too frequently, leading Facebook bots to identify them as spammers.\u003c/p>\n\u003cp>“They wouldn’t tell us why, and there was no escalation path to recovery. We had 50,000 members and we had no way to engage,” Wright said.\u003c/p>\n\u003cp>Wright ended up posting a notice to another group in his alliance focused on San Francisco history. He hoped one of the group’s 130,000 members might be a Facebook employee.\u003c/p>\n\u003cp>Sure enough, he said, a Facebook engineer in the group, based in Greece, responded and advocated for his WWII group to be restored.\u003c/p>\n\u003cp>“It’s U.S. history, right?” Wright said. “It’s not, you know, some right-edge, you know, cis-theory group. It’s simply things that happened.”\u003c/p>\n\u003cp>He later learned Facebook’s AI triggered on a swastika on a German uniform.\u003c/p>\n\u003cp>Without finding an advocate on the inside, Wright said, there’s no recourse for exasperated group administrators who feel they’ve been unfairly targeted — unless, however, that person or organization is an advertiser, and has a direct line to customer service.\u003c/p>\n\u003cp>This week, Meta published \u003ca href=\"https://transparency.fb.com/data/community-standards-enforcement\" target=\"_blank\" rel=\"noopener noreferrer\">yet another report\u003c/a> celebrating the recent strides it’s made to counter hate speech and other violations of its community standards. The company, for instance, claims that “prevalence of hate speech content was about 0.03% in the third 2021, which was a decrease from Q2 2021.”\u003c/p>\n\u003cp>“We want Facebook and Instagram to be places where people have a voice,” the company said in the report. “To create conditions where everyone feels comfortable expressing themselves, we must also protect their safety, privacy, dignity and authenticity.”\u003c/p>\n\u003cp>Meta did not respond to a request for comment on the boycott, and Kairos on Wednesday said it had still not received a response from the company either.\u003c/p>\n\u003cp>“Our campaign demonstrates the urgency for the company to take accountability for the real world dangers it poses to our communities not just in the United States, but globally,” the group said in its statement. “Users are taking back their power by coming together, and we will keep speaking out until Facebook implements the sweeping changes we’re demanding.”\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "Accountability Groups Stage 4-Day Facebook 'Logout' Over Network's Content-Moderation Practices | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A coalition of more than 30 tech accountability groups and national political organizations, upset with what they say has been Facebook’s ham-handed approach to content moderation, has organized a four-day \u003ca href=\"https://thefacebooklogout.com/demands/\" target=\"_blank\" rel=\"noopener noreferrer\">boycott of the social media behemoth\u003c/a> (now known as Meta), beginning Wednesday.\u003c/p>\n\u003cp>“Facebook spends more energy trying to mend their broken public image than fixing what’s happening on their platform and at the company,” the Kairos Fellowship, a nonprofit focused on advancing racial and economic justice through tech accountability, said in a statement.\u003c/p>\n\u003cp>The group, which organized the boycott in partnership with a wide swath of mostly progressive organizations — including NARAL Pro-Choice America and MoveOn — is urging users to stay away from Facebook and Instagram through Saturday.\u003c/p>\n\u003cp>More than 51,000 people have pledged to log out, “amplifying our demands for Facebook to curb disinformation, increase transparency on content moderation decisions and halt surveillance advertising,” Kairos’s executive director, Mariana Ruiz Firmat, said.\u003c/p>\n\u003cp>Last year, following George Floyd’s murder by a Minneapolis police offer, a number of big tech and communications companies, including Microsoft, Verizon and HP, stopped advertising on Facebook and Instagram, in some cases for a month, in an effort to show solidarity with protesters who said Facebook wasn’t doing enough to counter hate speech on its platform.\u003c/p>\n\u003cp>But there’s been no significant repeat pullout, even as Facebook has recently come under fire for a spate of potentially major transgressions — from allegations of “\u003ca href=\"https://www.nbcnews.com/pop-culture/pop-culture-news/months-after-tiktok-apologized-black-creators-many-say-little-has-n1256726\" target=\"_blank\" rel=\"noopener noreferrer\">shadow-banning\u003c/a>” of BIPOC activists, to evidence the company knowingly promoted platforms that harm children and incite political violence, to reports detailing the \u003ca href=\"https://www.wsj.com/articles/facebook-files-xcheck-zuckerberg-elite-rules-11631541353\">more lenient approach it has taken to misinformation and disinformation disseminated by its “VIP” users\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11895723\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11895723 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/1.jpg\" alt=\"A coalition of more than 30 national organizations like The Women’s March, MoveOn, NARAL Pro-Choice America, United We Dream and more have endorsed the campaign to log off Facebook and Instagram temporarily in a bid to pressure Meta to reform its economic model built on attracting advertisers by algorithmically encouraging users to spend more time on the sites viewing politically and culturally divisive content.\" width=\"1620\" height=\"911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/1.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/1-1536x864.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A coalition of more than 30 national organizations, including The Women’s March, MoveOn, NARAL Pro-Choice America and United We Dream, has endorsed the campaign to log off Facebook and Instagram temporarily in a bid to pressure its parent company, Meta, to reform its economic model, which is built on attracting advertisers by algorithmically encouraging users to spend more time viewing politically and culturally divisive content on its sites. \u003ccite>(Courtesy of Kairos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A number of users taking part in the boycott, however, say they are doing so out of frustration, after their groups on the platform were removed, with no explanation or recourse from the company. The company, they insist, needs to start treating its nonpaying users like valued customers.\u003c/p>\n\u003cp>Algorithms paired with virtually no human customer service have made life difficult for people like Nick Wright of San José. An engineer by day, at night he runs \u003ca href=\"https://www.facebook.com/HistoryAlliance/\" target=\"_blank\" rel=\"noopener noreferrer\">History Alliance\u003c/a>, a collection of roughly 30 Facebook history groups that collectively have more than 1 million members.\u003c/p>\n\u003cp>Wright says he understands why Facebook uses artificial intelligence to screen for an onslaught of offensive content like racist slurs or calls to violence, material CEO Mark Zuckerberg has repeatedly pledged to control over the years. But Wright says the software often functions like a “sledgehammer.”\u003c/p>\n\u003cp>“They start deleting your member comments. They start deleting threads. We’ve even had our groups deleted by Facebook without comment, without notice,” he said.\u003c/p>\n\u003cp>Wright says Facebook deleted his alliance’s \u003ca href=\"https://www.facebook.com/groups/WWIIHistory/\" target=\"_blank\" rel=\"noopener noreferrer\">WWII & Military History\u003c/a> group. In retrospect, he says, he presumes there were too many instances when a post or comment included a slur that was common in the 1930s and 1940s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there was no communication or warning from the company before the group was deleted, he said. Other groups he’s been involved in have also been suspended because, he thinks, its members have posted or shared too frequently, leading Facebook bots to identify them as spammers.\u003c/p>\n\u003cp>“They wouldn’t tell us why, and there was no escalation path to recovery. We had 50,000 members and we had no way to engage,” Wright said.\u003c/p>\n\u003cp>Wright ended up posting a notice to another group in his alliance focused on San Francisco history. He hoped one of the group’s 130,000 members might be a Facebook employee.\u003c/p>\n\u003cp>Sure enough, he said, a Facebook engineer in the group, based in Greece, responded and advocated for his WWII group to be restored.\u003c/p>\n\u003cp>“It’s U.S. history, right?” Wright said. “It’s not, you know, some right-edge, you know, cis-theory group. It’s simply things that happened.”\u003c/p>\n\u003cp>He later learned Facebook’s AI triggered on a swastika on a German uniform.\u003c/p>\n\u003cp>Without finding an advocate on the inside, Wright said, there’s no recourse for exasperated group administrators who feel they’ve been unfairly targeted — unless, however, that person or organization is an advertiser, and has a direct line to customer service.\u003c/p>\n\u003cp>This week, Meta published \u003ca href=\"https://transparency.fb.com/data/community-standards-enforcement\" target=\"_blank\" rel=\"noopener noreferrer\">yet another report\u003c/a> celebrating the recent strides it’s made to counter hate speech and other violations of its community standards. The company, for instance, claims that “prevalence of hate speech content was about 0.03% in the third 2021, which was a decrease from Q2 2021.”\u003c/p>\n\u003cp>“We want Facebook and Instagram to be places where people have a voice,” the company said in the report. “To create conditions where everyone feels comfortable expressing themselves, we must also protect their safety, privacy, dignity and authenticity.”\u003c/p>\n\u003cp>Meta did not respond to a request for comment on the boycott, and Kairos on Wednesday said it had still not received a response from the company either.\u003c/p>\n\u003cp>“Our campaign demonstrates the urgency for the company to take accountability for the real world dangers it poses to our communities not just in the United States, but globally,” the group said in its statement. “Users are taking back their power by coming together, and we will keep speaking out until Facebook implements the sweeping changes we’re demanding.”\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Food and Climate Change\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Fifty years ago, “Diet for a Small Planet” by Frances Moore Lapp\u003c/span>\u003cspan style=\"font-weight: 400\">é \u003c/span>\u003cspan style=\"font-weight: 400\">drew a connection between what we eat and greenhouse gas emissions. Now Lapp\u003c/span>\u003cspan style=\"font-weight: 400\">é’s daughter, \u003c/span>\u003cspan style=\"font-weight: 400\">Anna Lapp\u003c/span>\u003cspan style=\"font-weight: 400\">é,\u003c/span>\u003cspan style=\"font-weight: 400\"> has helped to update that book and its increasingly urgent call to action. She sits down with us to talk about sustainable agriculture, climate-friendly food policies, and her take on COP26, the United Nations Climate Change Conference. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guest:\u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Anna Lappé, “\u003c/span>\u003cspan style=\"font-weight: 400\">Diet for a Small Planet: 50th Anniversary” co-author\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>This Week in California Politics\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Republicans did a victory lap this week as they took the governor’s office in Virginia and came unexpectedly close to winning the governor’s race in New Jersey — both states that had carried President Joe Biden by double digit margins. Now, House Minority Leader Kevin McCarthy, R-Bakersfield, says dozens of Congressional seats could be flipped in Republicans’ favor in the next election. We also talk about ongoing redistricting efforts, a new housing “strike force” and conflict within the Democratic party over accepting funds from fossil fuel groups. \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\">Marisa Lagos, KQED politics and government correspondent\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Jeremy B. White, POLITICO California politics reporter\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Something Beautiful: Holiday Ice Rink\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week’s look at Something Beautiful is the festive re-opening of the Holiday Ice Rink at Union Square in San Francisco. \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>Food and Climate Change\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Fifty years ago, “Diet for a Small Planet” by Frances Moore Lapp\u003c/span>\u003cspan style=\"font-weight: 400\">é \u003c/span>\u003cspan style=\"font-weight: 400\">drew a connection between what we eat and greenhouse gas emissions. Now Lapp\u003c/span>\u003cspan style=\"font-weight: 400\">é’s daughter, \u003c/span>\u003cspan style=\"font-weight: 400\">Anna Lapp\u003c/span>\u003cspan style=\"font-weight: 400\">é,\u003c/span>\u003cspan style=\"font-weight: 400\"> has helped to update that book and its increasingly urgent call to action. She sits down with us to talk about sustainable agriculture, climate-friendly food policies, and her take on COP26, the United Nations Climate Change Conference. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guest:\u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Anna Lappé, “\u003c/span>\u003cspan style=\"font-weight: 400\">Diet for a Small Planet: 50th Anniversary” co-author\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>This Week in California Politics\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Republicans did a victory lap this week as they took the governor’s office in Virginia and came unexpectedly close to winning the governor’s race in New Jersey — both states that had carried President Joe Biden by double digit margins. Now, House Minority Leader Kevin McCarthy, R-Bakersfield, says dozens of Congressional seats could be flipped in Republicans’ favor in the next election. We also talk about ongoing redistricting efforts, a new housing “strike force” and conflict within the Democratic party over accepting funds from fossil fuel groups. \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\">Marisa Lagos, KQED politics and government correspondent\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Jeremy B. White, POLITICO California politics reporter\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Something Beautiful: Holiday Ice Rink\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week’s look at Something Beautiful is the festive re-opening of the Holiday Ice Rink at Union Square in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/mixed-race\">\u003ci>This post is part of a series of stories featured on this week’s episode of The California Report Magazine about the experience of being mixed race.\u003c/i>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>For some mixed-race people, finding a sense of belonging can feel like a balancing act. One common experience is the feeling of being an outsider. But it can create a type of kinship that’s held together by loneliness.\u003c/p>\n\u003cp>\u003cem>Two California Report Magazine listeners who share a common background — their mothers are Filipina, their fathers are Black — sat down to have a conversation about identity and growing up mixed in different eras and different parts of the Golden State.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11895300\" class=\"wp-caption aligncenter\" style=\"max-width: 1367px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/mixed2.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11895300 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/mixed2.png\" alt=\"Two women side by side.\" width=\"1367\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/mixed2.png 1367w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/mixed2-800x356.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/mixed2-1020x454.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/mixed2-160x71.png 160w\" sizes=\"(max-width: 1367px) 100vw, 1367px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Camille Seiberling, 48, (left) is a business owner in her hometown of San Francisco, and mother of two sons. Katrina Bullock, 21, is a student at UC Berkeley, where she’s involved with the Mixed at Berkeley club. \u003ccite>(Courtesy of Sieberling and Bullock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Camille Seiberling, 48, is a business owner in her hometown of San Francisco, where she grew up. She has two sons.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Katrina Bullock, 21, a student at UC Berkeley, grew up in Santa Clarita, just outside Los Angeles. She helps run a program called \u003ca href=\"http://mixedatberkeley.com\">Mixed at Berkeley\u003c/a>, which aims to support mixed-race students who are the first in their families to go to college.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The conversation has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>The question all mixed people get: “What are you?”\u003c/strong>\u003c/h3>\n\u003cp>KB: I’m an Aries. I am Black and Filipino. I’m a woman. I identify as a lot of things, [I’m] a multifaceted person. The question is definitely interesting. When I get asked it, I like to kind of give people a little bit more of my personality. I’m like, “Oh, I’m funny” or “I’m cool” or things like that. Just so they have to really explicitly ask, “What is your ethnic or racial background?”\u003c/p>\n\u003cp>CS: I’m 48, and I’ve been asked that same question for a long time. When I was younger, it was awkward. Sometimes it depended on who was asking the question. If it was somebody who was white, I would be a little bit curious about why they’re asking that question. If [it was] someone who is Filipino, too, or African American or mixed themselves, I would get what they’re trying to figure out and it wouldn’t bother me as much.\u003c/p>\n\u003cfigure id=\"attachment_11894920\" class=\"wp-caption alignnone\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11894920\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Camille-and-family.jpeg\" alt=\"\" width=\"512\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Camille-and-family.jpeg 512w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Camille-and-family-160x117.jpeg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Camille Seiberling and her husband and two kids. \u003ccite>(Courtesy Camille Seiberling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KB: Yeah, it really depends on who I’m interacting with and like how they construct race by their experiences. In Santa Clarita, which is a predominantly white community, the people there have a very narrow perception of Blackness. So when they see me, it’s very much like I am the tokenized Black person, like I’m the representative of the Black community. Whereas when I interact with people who are in more multicultural spaces, or have a broadened view of the Black community, they will identify that I am mixed and treat me differently.\u003c/p>\n\u003cp>[aside label=\"More From the California Report's 'Mixed' Series\" postID=\"news_11894632,news_11894597\"]CS: I know there are Black and Filipino girls like Katrina, but I didn’t have that growing up. There were mostly Black and white mixed women that I grew up around. I was really unique, and I still am, actually, in my group of friends.\u003c/p>\n\u003cp>KB: I think that we really all find like a collective identity in this feeling of never fitting in or never feeling like you’re fully anything. And then when you find a space with other mixed people who feel the same way, then you kind of take a step back and realize, “Oh, I am a full person. I can be fully Black and fully Filipino. I can just be truly me without having to deal with other people’s opinions on what my racial makeup is and like what that says about me. It’s just truly who I am.”\u003c/p>\n\u003ch3>\u003cstrong>Race is a lot about how you’re perceived\u003c/strong>\u003c/h3>\n\u003cp>CS: Being mixed, I never really felt that people thought I was African American. I was an actress for a while, [and when] I was going out for parts, they always wanted me to be Latina. When I went to Vietnam, they thought I was Vietnamese. When I went to Morocco, they thought I was Moroccan.\u003c/p>\n\u003cp>KB: Racially I think I present as Black. But culturally, I feel like I still hold Filipino traditions and practices. So growing up in a suburban community that’s majority white, a lot of people have these racial assumptions like [from] the get-go. They see one Black person — because there’s not that many Black people in my suburban city — and so they see me and they’re like, “OK, she knows everything. I bet she can rap all the Drake songs.”\u003c/p>\n\u003cfigure id=\"attachment_11894918\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11894918\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/IMG_4645-e1635961139131-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4645-e1635961139131-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4645-e1635961139131-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4645-e1635961139131-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4645-e1635961139131.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katrina Bullock (far left) and her parents and sister. \u003ccite>(Courtesy Katrina Bullock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Anti-blackness within mixed families\u003c/strong>\u003c/h3>\n\u003cp>KB: One of the first racialized experiences I remember having was in my elementary school. I went to a school where there was a large Filipino population, and I had a classmate who was Filipino and our moms were friends. We were on the playground playing tag, and I tagged him. I’m sure I said something a little bit arrogant, like, “I got you,” and he turned around, and said, “Well, at least I’m not Black.”\u003c/p>\n\u003cp>[Later] [m]y dad [told my mom], “Well, she is Black. That’s just something that she’s going to learn.” That was just my first experience, understanding the aggression that I would face because I’m Black. From that moment forward, I think my dad made it a really strong point in our household for me to know my Black history. We watched a lot of movies and documentaries about Black history.\u003c/p>\n\u003cfigure id=\"attachment_11894919\" class=\"wp-caption aligncenter\" style=\"max-width: 512px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Camille-and-family-transamerica-pyramid.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11894919\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Camille-and-family-transamerica-pyramid.jpeg\" alt=\"A family photo of eight people in front of the TransAmerica Pyramid building in San Francisco.\" width=\"512\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Camille-and-family-transamerica-pyramid.jpeg 512w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Camille-and-family-transamerica-pyramid-160x101.jpeg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Camille Seiberling, second from right, and the Filipino side of her family pose in front of San Francisco’s Transamerica Pyramid. \u003ccite>(Courtesy Camille Seiberling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CS: I didn’t have that, not only because my parents separated, [but] because they didn’t talk about our history or what they felt about it. I think it has a lot to do with coming out of the ’60s and civil rights and my dad struggling. I feel like if he was there more, then I could talk to him about my feelings and get more information about how he was feeling about things. But I just had my mom’s perspective, really. So I had to navigate these things myself.\u003c/p>\n\u003cfigure id=\"attachment_11894921\" class=\"wp-caption alignnone\" style=\"max-width: 502px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11894921\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Camille-and-her-dad.jpeg\" alt=\"\" width=\"502\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Camille-and-her-dad.jpeg 502w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Camille-and-her-dad-160x163.jpeg 160w\" sizes=\"(max-width: 502px) 100vw, 502px\">\u003cfigcaption class=\"wp-caption-text\">Camille Seiberling, hugging her father in an undated photo. \u003ccite>(Courtesy Camille Seiberling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When my mom first decided to be with my dad, there were racist comments. I think [for] my grandmother, my dad not always being there [meant] her stereotypes came true and so were reinforced in some way. I remember the store down the street was owned by a Chinese couple. I remember, they used to always kind of be afraid of my dad coming in [to the store], like he was going to do something. I grew up with those things. They felt very familiar to me.\u003c/p>\n\u003ch3>\u003cstrong>The curly hair chronicles\u003c/strong>\u003c/h3>\n\u003cp>KB: Once I hit middle school, I think that’s when my mom gave me control over my hair. I had a lot of white peers who were straightening their hair. And so, I just adopted that and straightened my hair until probably like the middle of high school. Once I got to Berkeley — actually [in] my club \u003ca href=\"https://www.instagram.com/mixedatberkeley/\">Mixed at Berkeley\u003c/a> — they have a program called The Curly Hair Chronicles, where people talk about their curly hair experiences and how to properly deal with curly and textured hair.\u003c/p>\n\u003cfigure id=\"attachment_11894817\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11894817\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/IMG_4019-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4019-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4019-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4019-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katrina Bullock and friends who are part of Mixed at Berkeley, a club for mixed-race students. \u003ccite>(Courtesy Katrina Bullock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CS: I wish I had that. One thing that’s good is that my mom didn’t chemically straighten [my or] my sister’s hair. I always say how it looks like ‘Chaka Khan hair’ when it’s down. But I always wear it up, back from my face. I think it’s because of the attention I got, not wanting that attention. When I went to private schools, I was objectified. I got a lot of attention for being mixed or not white.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KB: Mixed people are obviously fetishized. I believe that’s a tool of like white supremacy to keep us kind of subjugated and not thinking about the racial hierarchy. Why has our idea of beauty been shaped around being ethnically ambiguous?\u003c/p>\n\u003cp>My mom actually doesn’t talk about race as much as my dad did. Just recently, we had a conversation about colorism. I was just telling her [that] in Black communities, I benefit from colorism. But in Filipino communities, I’m more like the victim of colorism.\u003c/p>\n\u003cp>Growing up [in] Filipino communities, it was like, “You need to have whitening lotion,” and “You need to pin your nose together so it doesn’t look so wide.”\u003c/p>\n\u003cp>CS: I think that right now the next generation is looking at this stuff and talking about it more, because there are more of us. When I hear Katrina, I feel that.\u003c/p>\n\u003cp>KB: Camille, thank you so much for sharing your story. I absolutely love talking to people who are of the same mix because I think it just showcases how diverse the mixed community is. We come from the same racial background, her parents are of the same race [as my parents], but we have such different experiences growing up in different parts of the states during a different era.\u003c/p>\n\u003cp>[hearken id=\"7528\" src=\"https://modules.wearehearken.com/kqed/embed/7528.js\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/mixed-race\">\u003ci>This post is part of a series of stories featured on this week’s episode of The California Report Magazine about the experience of being mixed race.\u003c/i>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>For some mixed-race people, finding a sense of belonging can feel like a balancing act. One common experience is the feeling of being an outsider. But it can create a type of kinship that’s held together by loneliness.\u003c/p>\n\u003cp>\u003cem>Two California Report Magazine listeners who share a common background — their mothers are Filipina, their fathers are Black — sat down to have a conversation about identity and growing up mixed in different eras and different parts of the Golden State.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11895300\" class=\"wp-caption aligncenter\" style=\"max-width: 1367px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/mixed2.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11895300 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/mixed2.png\" alt=\"Two women side by side.\" width=\"1367\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/mixed2.png 1367w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/mixed2-800x356.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/mixed2-1020x454.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/mixed2-160x71.png 160w\" sizes=\"(max-width: 1367px) 100vw, 1367px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Camille Seiberling, 48, (left) is a business owner in her hometown of San Francisco, and mother of two sons. Katrina Bullock, 21, is a student at UC Berkeley, where she’s involved with the Mixed at Berkeley club. \u003ccite>(Courtesy of Sieberling and Bullock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Camille Seiberling, 48, is a business owner in her hometown of San Francisco, where she grew up. She has two sons.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Katrina Bullock, 21, a student at UC Berkeley, grew up in Santa Clarita, just outside Los Angeles. She helps run a program called \u003ca href=\"http://mixedatberkeley.com\">Mixed at Berkeley\u003c/a>, which aims to support mixed-race students who are the first in their families to go to college.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The conversation has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>The question all mixed people get: “What are you?”\u003c/strong>\u003c/h3>\n\u003cp>KB: I’m an Aries. I am Black and Filipino. I’m a woman. I identify as a lot of things, [I’m] a multifaceted person. The question is definitely interesting. When I get asked it, I like to kind of give people a little bit more of my personality. I’m like, “Oh, I’m funny” or “I’m cool” or things like that. Just so they have to really explicitly ask, “What is your ethnic or racial background?”\u003c/p>\n\u003cp>CS: I’m 48, and I’ve been asked that same question for a long time. When I was younger, it was awkward. Sometimes it depended on who was asking the question. If it was somebody who was white, I would be a little bit curious about why they’re asking that question. If [it was] someone who is Filipino, too, or African American or mixed themselves, I would get what they’re trying to figure out and it wouldn’t bother me as much.\u003c/p>\n\u003cfigure id=\"attachment_11894920\" class=\"wp-caption alignnone\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11894920\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Camille-and-family.jpeg\" alt=\"\" width=\"512\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Camille-and-family.jpeg 512w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Camille-and-family-160x117.jpeg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Camille Seiberling and her husband and two kids. \u003ccite>(Courtesy Camille Seiberling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KB: Yeah, it really depends on who I’m interacting with and like how they construct race by their experiences. In Santa Clarita, which is a predominantly white community, the people there have a very narrow perception of Blackness. So when they see me, it’s very much like I am the tokenized Black person, like I’m the representative of the Black community. Whereas when I interact with people who are in more multicultural spaces, or have a broadened view of the Black community, they will identify that I am mixed and treat me differently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>CS: I know there are Black and Filipino girls like Katrina, but I didn’t have that growing up. There were mostly Black and white mixed women that I grew up around. I was really unique, and I still am, actually, in my group of friends.\u003c/p>\n\u003cp>KB: I think that we really all find like a collective identity in this feeling of never fitting in or never feeling like you’re fully anything. And then when you find a space with other mixed people who feel the same way, then you kind of take a step back and realize, “Oh, I am a full person. I can be fully Black and fully Filipino. I can just be truly me without having to deal with other people’s opinions on what my racial makeup is and like what that says about me. It’s just truly who I am.”\u003c/p>\n\u003ch3>\u003cstrong>Race is a lot about how you’re perceived\u003c/strong>\u003c/h3>\n\u003cp>CS: Being mixed, I never really felt that people thought I was African American. I was an actress for a while, [and when] I was going out for parts, they always wanted me to be Latina. When I went to Vietnam, they thought I was Vietnamese. When I went to Morocco, they thought I was Moroccan.\u003c/p>\n\u003cp>KB: Racially I think I present as Black. But culturally, I feel like I still hold Filipino traditions and practices. So growing up in a suburban community that’s majority white, a lot of people have these racial assumptions like [from] the get-go. They see one Black person — because there’s not that many Black people in my suburban city — and so they see me and they’re like, “OK, she knows everything. I bet she can rap all the Drake songs.”\u003c/p>\n\u003cfigure id=\"attachment_11894918\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11894918\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/IMG_4645-e1635961139131-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4645-e1635961139131-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4645-e1635961139131-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4645-e1635961139131-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4645-e1635961139131.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katrina Bullock (far left) and her parents and sister. \u003ccite>(Courtesy Katrina Bullock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Anti-blackness within mixed families\u003c/strong>\u003c/h3>\n\u003cp>KB: One of the first racialized experiences I remember having was in my elementary school. I went to a school where there was a large Filipino population, and I had a classmate who was Filipino and our moms were friends. We were on the playground playing tag, and I tagged him. I’m sure I said something a little bit arrogant, like, “I got you,” and he turned around, and said, “Well, at least I’m not Black.”\u003c/p>\n\u003cp>[Later] [m]y dad [told my mom], “Well, she is Black. That’s just something that she’s going to learn.” That was just my first experience, understanding the aggression that I would face because I’m Black. From that moment forward, I think my dad made it a really strong point in our household for me to know my Black history. We watched a lot of movies and documentaries about Black history.\u003c/p>\n\u003cfigure id=\"attachment_11894919\" class=\"wp-caption aligncenter\" style=\"max-width: 512px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Camille-and-family-transamerica-pyramid.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11894919\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Camille-and-family-transamerica-pyramid.jpeg\" alt=\"A family photo of eight people in front of the TransAmerica Pyramid building in San Francisco.\" width=\"512\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Camille-and-family-transamerica-pyramid.jpeg 512w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Camille-and-family-transamerica-pyramid-160x101.jpeg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Camille Seiberling, second from right, and the Filipino side of her family pose in front of San Francisco’s Transamerica Pyramid. \u003ccite>(Courtesy Camille Seiberling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CS: I didn’t have that, not only because my parents separated, [but] because they didn’t talk about our history or what they felt about it. I think it has a lot to do with coming out of the ’60s and civil rights and my dad struggling. I feel like if he was there more, then I could talk to him about my feelings and get more information about how he was feeling about things. But I just had my mom’s perspective, really. So I had to navigate these things myself.\u003c/p>\n\u003cfigure id=\"attachment_11894921\" class=\"wp-caption alignnone\" style=\"max-width: 502px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11894921\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Camille-and-her-dad.jpeg\" alt=\"\" width=\"502\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Camille-and-her-dad.jpeg 502w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Camille-and-her-dad-160x163.jpeg 160w\" sizes=\"(max-width: 502px) 100vw, 502px\">\u003cfigcaption class=\"wp-caption-text\">Camille Seiberling, hugging her father in an undated photo. \u003ccite>(Courtesy Camille Seiberling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When my mom first decided to be with my dad, there were racist comments. I think [for] my grandmother, my dad not always being there [meant] her stereotypes came true and so were reinforced in some way. I remember the store down the street was owned by a Chinese couple. I remember, they used to always kind of be afraid of my dad coming in [to the store], like he was going to do something. I grew up with those things. They felt very familiar to me.\u003c/p>\n\u003ch3>\u003cstrong>The curly hair chronicles\u003c/strong>\u003c/h3>\n\u003cp>KB: Once I hit middle school, I think that’s when my mom gave me control over my hair. I had a lot of white peers who were straightening their hair. And so, I just adopted that and straightened my hair until probably like the middle of high school. Once I got to Berkeley — actually [in] my club \u003ca href=\"https://www.instagram.com/mixedatberkeley/\">Mixed at Berkeley\u003c/a> — they have a program called The Curly Hair Chronicles, where people talk about their curly hair experiences and how to properly deal with curly and textured hair.\u003c/p>\n\u003cfigure id=\"attachment_11894817\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11894817\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/IMG_4019-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4019-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4019-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/IMG_4019-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katrina Bullock and friends who are part of Mixed at Berkeley, a club for mixed-race students. \u003ccite>(Courtesy Katrina Bullock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CS: I wish I had that. One thing that’s good is that my mom didn’t chemically straighten [my or] my sister’s hair. I always say how it looks like ‘Chaka Khan hair’ when it’s down. But I always wear it up, back from my face. I think it’s because of the attention I got, not wanting that attention. When I went to private schools, I was objectified. I got a lot of attention for being mixed or not white.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KB: Mixed people are obviously fetishized. I believe that’s a tool of like white supremacy to keep us kind of subjugated and not thinking about the racial hierarchy. Why has our idea of beauty been shaped around being ethnically ambiguous?\u003c/p>\n\u003cp>My mom actually doesn’t talk about race as much as my dad did. Just recently, we had a conversation about colorism. I was just telling her [that] in Black communities, I benefit from colorism. But in Filipino communities, I’m more like the victim of colorism.\u003c/p>\n\u003cp>Growing up [in] Filipino communities, it was like, “You need to have whitening lotion,” and “You need to pin your nose together so it doesn’t look so wide.”\u003c/p>\n\u003cp>CS: I think that right now the next generation is looking at this stuff and talking about it more, because there are more of us. When I hear Katrina, I feel that.\u003c/p>\n\u003cp>KB: Camille, thank you so much for sharing your story. I absolutely love talking to people who are of the same mix because I think it just showcases how diverse the mixed community is. We come from the same racial background, her parents are of the same race [as my parents], but we have such different experiences growing up in different parts of the states during a different era.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'What Are You?' Artist Kip Fulbeck Gives Mixed-Race People a Chance to Answer in Their Own Words",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/mixed-race\">\u003ci data-stringify-type=\"italic\">This post is part of a \u003c/i>\u003ci data-stringify-type=\"italic\">series of stories\u003c/i>\u003ci data-stringify-type=\"italic\"> featured on this week’s episode of The California Report Magazine about the experience of being mixed race.\u003c/i>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>What are you?\u003c/em>\u003c/p>\n\u003cp>[aside label=\"More From the California Report's 'Mixed' Series\" postID=\"news_11894632,news_11894797\"]It’s a question that artist \u003ca href=\"https://kipfulbeck.com/\">Kip Fulbeck\u003c/a> has heard since childhood. He’s not alone: Most mixed-race people get asked that question all the time. The answer can be complicated, and for multiracial folks who straddle many identities, just being asked the question can feel isolating.\u003c/p>\n\u003cp>But, as Fulbeck has explored throughout his career, it can also feel invigorating and rich to belong to multiple communities, and to celebrate that complexity.\u003c/p>\n\u003cp>For more than two decades, Fulbeck, a filmmaker and a professor of art at UC Santa Barbara, has traveled around the country to photograph other mixed-race people and let them answer the question “What are you?” in their own words. His two most famous exhibits, “\u003ca href=\"https://hapa.me/\">The Hapa Project\u003c/a>” and “Mixed: Portraits of Multiracial Kids,” both were both featured exhibitions at the Japanese American National Museum in Los Angeles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K3_WmP5zEPI&t=2s\u003c/p>\n\u003cp>The Hapa Project featured hundreds of identically composed portraits, all shot from the collarbone up, of mixed-race people. Accompanying captions, written in the photo subjects’ own handwriting, featured answers to the question “What are you?” in their own words. Fifteen years later, he followed up and photographed 130 of those participants, to show not only their physical changes over time, but also their differences in perspective and outlook on a rapidly changing world.\u003c/p>\n\u003cp>Fulbeck also published a book, “\u003ca href=\"https://janmstore.com/products/hapa-me-catalog\">hapa.me\u003c/a>,” to capture these responses. His book “Mixed: Portraits of Multiracial Kids,” featured a forward by Barack Obama’s sister, Maya Soetero-Ng, and an afterward by Cher, known for her famous song “Half-Breed.”\u003c/p>\n\u003cfigure id=\"attachment_11894610\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894610 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Fulbeck_3-800x576.jpg\" alt=\"Two portraits, side-by-side, of a shirtless man from the collarbone up. The man describes his ethnicity as Black and Japanese. On the left, his hair is black, and his face is bare. On the right, 15 years later, his hair is streaked with white and he sports a salt-and-pepper goatee. \" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_3-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_3-1020x735.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_3-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_3-1536x1107.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_3-1920x1383.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_3.jpg 1950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Selections from Kip Fulbeck’s “The Hapa Project,” which has exhibited at the Japanese American National Museum in Los Angeles. \u003ccite>(Courtesy Kip Fulbeck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fulbeck sat down with The California Report Magazine to reflect on his work as part of our project probing the mixed-race experience.\u003c/p>\n\u003cp>He said that growing up with a Chinese mom and white American dad, he often felt out of place. At home, he was the only one of his siblings who was mixed race.\u003c/p>\n\u003cp>“I grew up in a very Chinese household where Cantonese was spoken. And we spent every weekend in Chinatown, in LA,” he said. “I grew up as the … ‘white kid.’ I didn’t speak [the] language, didn’t like the food, didn’t get the culture.”\u003c/p>\n\u003cfigure id=\"attachment_11894750\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894750 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Kip-Fulbeck-800x1200.jpg\" alt=\"A man who describes himself as mixed race poses for a studio-style photo against a light gray background. He's got shoulder-length black hair and is smiling wide, in a blue collared shirt with his arms crossed, holding a microphone. He has "sleeve" tattoos visible because his shirt cuffs are rolled up just a bit. He holds a microphone in one hand.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer and filmmaker Kip Fulbeck. \u003ccite>(Courtesy Kip Fulbeck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then in school, Fulbeck said, “I was the only Asian kid. And so I had no real cultural footing.” He remembers being bullied for being Chinese, when the Chinese community didn’t seem to accept him either.\u003c/p>\n\u003cp>That created a sense of isolation, and for Fulbeck, not even his family could relate to his experience.\u003c/p>\n\u003cp>“When you’re mixed, your parents don’t get to tell you what it was like. They don’t get to say, ‘When I was a kid, it was like this,’ because they don’t know,” he said.\u003c/p>\n\u003cp>Fulbeck said he struggled as a kid whenever he was asked to fill out a form detailing his race. Back then, those forms didn’t let you choose more than one racial background.\u003c/p>\n\u003cp>“You get that questionnaire, the ‘check one box,’ which is ridiculous,” said Fulbeck. “[For] a 7-year-old to have to pick Mom or Dad is not a fair question. I remember being a little kid thinking like, ‘Well, do I love my dad today or my mom?’”\u003c/p>\n\u003cp>That isolation helped spark his portrait series, “The Hapa Project,” where Fulbeck photographed mixed-race people and let them define who they are with a handwritten caption authored by each photo subject. Hapa is a Hawaiian word for “part.” It’s used in Hawaii to describe people who are part Asian or Pacific Islander, though since Fulbeck first debuted his project in 2001, there’s been heated debate over whether the term should be used more generally to define mixed-race people.\u003c/p>\n\u003cfigure id=\"attachment_11894608\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894608 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Fulbeck_5-800x576.jpg\" alt=\"Two portraits of the same shirtless woman taken from the collarbone up. On the left, her hair is long and black, reaching past her shoulders. On the right, 15 years later, her hair is shorter and just below her ears. Her hair is wavy in both. \" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_5-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_5-1020x735.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_5-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_5-1536x1107.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_5-1920x1383.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_5.jpg 1950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Each participant in “The Hapa Project” could write a caption about themselves in their own handwriting, in response to the question “What are you?” Artist Kip Fulbeck revisited those same subjects 15 years later for an update on how their perspectives on their identities had changed. \u003ccite>(Courtesy Kip Fulbeck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traveling around the U.S. for The Hapa Project, Fulbeck found that mixed-race people were eager to write their own stories.\u003c/p>\n\u003cp>“No one gets to tell you who you are,” Fulbeck said. “And people, if you don’t define yourself, people define you and they don’t do a good job of it and it doesn’t really work. So I always say it’s kind of your responsibility.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the years Fulbeck has undertaken this work, mixed-race people — and the idea of mixed-race identity — have become more visible in America.\u003c/p>\n\u003cp>In January, Kamala Harris became the first Black person and first Asian American to be sworn in as vice president. And according to data from the latest U.S. Census, California saw a 217.3% increase in people who identify with two or more races from 2010 to 2020.\u003c/p>\n\u003cp>But as a kid in the 1970s, Fulbeck had to turn to fictional characters to see himself reflected.\u003c/p>\n\u003cp>“The funny one that sticks out to me as a child was ‘Star Trek,’ the original series,” said Fulbeck. “They always took Spock and would say, ‘Are you human or Vulcan?’\u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/27/389589676/leonard-nimoys-advice-to-a-biracial-girl-in-1968#:~:text=In%20a%20letter%20addressed%20to,the%20girl%20named%20F.C.%20wrote.\"> and he would say, ‘I’m both.’\u003c/a> I remember being a kid going, ‘I get that.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-11894606 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Fulbeck_4-1-800x576.jpg\" alt=\"Two portraits of a shirtless woman from her collarbone up. On the left she sports frizzy dark brown hair that has volume. In the right photo, taken 15 years later, her hair is white and close-cropped. She's smiling in both photos.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_4-1-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_4-1-1020x735.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_4-1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_4-1-1536x1107.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_4-1-1920x1383.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_4-1.jpg 1950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Fulbeck said mixed-race people are often left out of — or not fully let into — their own communities.\u003c/p>\n\u003cp>“People are defining you according to this boundary, that you have to be ‘this much’ this,” said Fulbeck. “You have to speak this language. You have to take off your shoes, whatever it is. It’s like if you’re going to go off those definitions, then you’re going to be in a world of hurt. You have to find your own way to define yourself.”\u003c/p>\n\u003cp>[hearken id=\"7528\" src=\"https://modules.wearehearken.com/kqed/embed/7528.js\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "'What Are You?' Artist Kip Fulbeck Gives Mixed-Race People a Chance to Answer in Their Own Words | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/mixed-race\">\u003ci data-stringify-type=\"italic\">This post is part of a \u003c/i>\u003ci data-stringify-type=\"italic\">series of stories\u003c/i>\u003ci data-stringify-type=\"italic\"> featured on this week’s episode of The California Report Magazine about the experience of being mixed race.\u003c/i>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>What are you?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s a question that artist \u003ca href=\"https://kipfulbeck.com/\">Kip Fulbeck\u003c/a> has heard since childhood. He’s not alone: Most mixed-race people get asked that question all the time. The answer can be complicated, and for multiracial folks who straddle many identities, just being asked the question can feel isolating.\u003c/p>\n\u003cp>But, as Fulbeck has explored throughout his career, it can also feel invigorating and rich to belong to multiple communities, and to celebrate that complexity.\u003c/p>\n\u003cp>For more than two decades, Fulbeck, a filmmaker and a professor of art at UC Santa Barbara, has traveled around the country to photograph other mixed-race people and let them answer the question “What are you?” in their own words. His two most famous exhibits, “\u003ca href=\"https://hapa.me/\">The Hapa Project\u003c/a>” and “Mixed: Portraits of Multiracial Kids,” both were both featured exhibitions at the Japanese American National Museum in Los Angeles.\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/K3_WmP5zEPI'\n title='//www.youtube.com/embed/K3_WmP5zEPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Hapa Project featured hundreds of identically composed portraits, all shot from the collarbone up, of mixed-race people. Accompanying captions, written in the photo subjects’ own handwriting, featured answers to the question “What are you?” in their own words. Fifteen years later, he followed up and photographed 130 of those participants, to show not only their physical changes over time, but also their differences in perspective and outlook on a rapidly changing world.\u003c/p>\n\u003cp>Fulbeck also published a book, “\u003ca href=\"https://janmstore.com/products/hapa-me-catalog\">hapa.me\u003c/a>,” to capture these responses. His book “Mixed: Portraits of Multiracial Kids,” featured a forward by Barack Obama’s sister, Maya Soetero-Ng, and an afterward by Cher, known for her famous song “Half-Breed.”\u003c/p>\n\u003cfigure id=\"attachment_11894610\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894610 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Fulbeck_3-800x576.jpg\" alt=\"Two portraits, side-by-side, of a shirtless man from the collarbone up. The man describes his ethnicity as Black and Japanese. On the left, his hair is black, and his face is bare. On the right, 15 years later, his hair is streaked with white and he sports a salt-and-pepper goatee. \" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_3-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_3-1020x735.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_3-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_3-1536x1107.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_3-1920x1383.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_3.jpg 1950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Selections from Kip Fulbeck’s “The Hapa Project,” which has exhibited at the Japanese American National Museum in Los Angeles. \u003ccite>(Courtesy Kip Fulbeck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fulbeck sat down with The California Report Magazine to reflect on his work as part of our project probing the mixed-race experience.\u003c/p>\n\u003cp>He said that growing up with a Chinese mom and white American dad, he often felt out of place. At home, he was the only one of his siblings who was mixed race.\u003c/p>\n\u003cp>“I grew up in a very Chinese household where Cantonese was spoken. And we spent every weekend in Chinatown, in LA,” he said. “I grew up as the … ‘white kid.’ I didn’t speak [the] language, didn’t like the food, didn’t get the culture.”\u003c/p>\n\u003cfigure id=\"attachment_11894750\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894750 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Kip-Fulbeck-800x1200.jpg\" alt=\"A man who describes himself as mixed race poses for a studio-style photo against a light gray background. He's got shoulder-length black hair and is smiling wide, in a blue collared shirt with his arms crossed, holding a microphone. He has "sleeve" tattoos visible because his shirt cuffs are rolled up just a bit. He holds a microphone in one hand.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Kip-Fulbeck-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer and filmmaker Kip Fulbeck. \u003ccite>(Courtesy Kip Fulbeck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then in school, Fulbeck said, “I was the only Asian kid. And so I had no real cultural footing.” He remembers being bullied for being Chinese, when the Chinese community didn’t seem to accept him either.\u003c/p>\n\u003cp>That created a sense of isolation, and for Fulbeck, not even his family could relate to his experience.\u003c/p>\n\u003cp>“When you’re mixed, your parents don’t get to tell you what it was like. They don’t get to say, ‘When I was a kid, it was like this,’ because they don’t know,” he said.\u003c/p>\n\u003cp>Fulbeck said he struggled as a kid whenever he was asked to fill out a form detailing his race. Back then, those forms didn’t let you choose more than one racial background.\u003c/p>\n\u003cp>“You get that questionnaire, the ‘check one box,’ which is ridiculous,” said Fulbeck. “[For] a 7-year-old to have to pick Mom or Dad is not a fair question. I remember being a little kid thinking like, ‘Well, do I love my dad today or my mom?’”\u003c/p>\n\u003cp>That isolation helped spark his portrait series, “The Hapa Project,” where Fulbeck photographed mixed-race people and let them define who they are with a handwritten caption authored by each photo subject. Hapa is a Hawaiian word for “part.” It’s used in Hawaii to describe people who are part Asian or Pacific Islander, though since Fulbeck first debuted his project in 2001, there’s been heated debate over whether the term should be used more generally to define mixed-race people.\u003c/p>\n\u003cfigure id=\"attachment_11894608\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894608 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Fulbeck_5-800x576.jpg\" alt=\"Two portraits of the same shirtless woman taken from the collarbone up. On the left, her hair is long and black, reaching past her shoulders. On the right, 15 years later, her hair is shorter and just below her ears. Her hair is wavy in both. \" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_5-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_5-1020x735.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_5-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_5-1536x1107.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_5-1920x1383.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_5.jpg 1950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Each participant in “The Hapa Project” could write a caption about themselves in their own handwriting, in response to the question “What are you?” Artist Kip Fulbeck revisited those same subjects 15 years later for an update on how their perspectives on their identities had changed. \u003ccite>(Courtesy Kip Fulbeck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traveling around the U.S. for The Hapa Project, Fulbeck found that mixed-race people were eager to write their own stories.\u003c/p>\n\u003cp>“No one gets to tell you who you are,” Fulbeck said. “And people, if you don’t define yourself, people define you and they don’t do a good job of it and it doesn’t really work. So I always say it’s kind of your responsibility.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the years Fulbeck has undertaken this work, mixed-race people — and the idea of mixed-race identity — have become more visible in America.\u003c/p>\n\u003cp>In January, Kamala Harris became the first Black person and first Asian American to be sworn in as vice president. And according to data from the latest U.S. Census, California saw a 217.3% increase in people who identify with two or more races from 2010 to 2020.\u003c/p>\n\u003cp>But as a kid in the 1970s, Fulbeck had to turn to fictional characters to see himself reflected.\u003c/p>\n\u003cp>“The funny one that sticks out to me as a child was ‘Star Trek,’ the original series,” said Fulbeck. “They always took Spock and would say, ‘Are you human or Vulcan?’\u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/27/389589676/leonard-nimoys-advice-to-a-biracial-girl-in-1968#:~:text=In%20a%20letter%20addressed%20to,the%20girl%20named%20F.C.%20wrote.\"> and he would say, ‘I’m both.’\u003c/a> I remember being a kid going, ‘I get that.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-11894606 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/Fulbeck_4-1-800x576.jpg\" alt=\"Two portraits of a shirtless woman from her collarbone up. On the left she sports frizzy dark brown hair that has volume. In the right photo, taken 15 years later, her hair is white and close-cropped. She's smiling in both photos.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_4-1-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_4-1-1020x735.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_4-1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_4-1-1536x1107.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_4-1-1920x1383.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/Fulbeck_4-1.jpg 1950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Fulbeck said mixed-race people are often left out of — or not fully let into — their own communities.\u003c/p>\n\u003cp>“People are defining you according to this boundary, that you have to be ‘this much’ this,” said Fulbeck. “You have to speak this language. You have to take off your shoes, whatever it is. It’s like if you’re going to go off those definitions, then you’re going to be in a world of hurt. You have to find your own way to define yourself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'To Also Celebrate the Living': Día de los Muertos Returns to the Mission",
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"headTitle": "‘To Also Celebrate the Living’: Día de los Muertos Returns to the Mission | KQED",
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"content": "\u003cp>Hundreds of residents filled the streets of the Mission District in San Francisco on Tuesday evening to honor and celebrate the dead on Día de los Muertos. The sidewalks of 24th Street, from Mission Street to Potrero Avenue, were packed with families, some holding candles, others wearing delicately crafted dresses, face paint and hair arrangements made out of cempasúchil, or marigolds.\u003c/p>\n\u003cfigure id=\"attachment_11894971\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894971 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52348_030_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"A person wears an elaborate head garment, face paint and purple, ribboned dress as they dance in the streets.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52348_030_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52348_030_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52348_030_SanFrancisco_DiadelosMuertos_11022021-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52348_030_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52348_030_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daniela Zurita walks during Dia de los Muertos in San Francisco on Nov. 2, 2021, in memory of her mother who passed away in August due to COVID-19. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photos and paintings of loved ones who had died were placed on tables or pinned on trees, surrounded by food, water, sage and cempasúchil.\u003c/p>\n\u003cp>On the corner of 24th and Capp streets, outside the Calle 24 Latino Cultural District building, a celebration honoring the lives of deceased womxn, queer and trans people of color, or QTPOC, and youth included dance performances by the the Mission-based Danza Azteca Mixcoatl Anahuac and readings by members of the Young Women’s Freedom Center.\u003c/p>\n\u003cp>(“\u003ca href=\"https://thebutlercollegian.com/2021/03/women-womxn-womyn/\">Womxn\u003c/a>” is an alternative spelling used to include those who feel excluded by the spellings “women” or “womyn,” particularly trans and nonbinary women.)\u003c/p>\n\u003cfigure id=\"attachment_11894963\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894963 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52324_004_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"A person wearing traditional Aztec dance regalia lifts their hands up in prayer in front of a poster that shares some of the statistics on violence committed against women and queer and trans people of color.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52324_004_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52324_004_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52324_004_SanFrancisco_DiadelosMuertos_11022021-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52324_004_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52324_004_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A member of the group Danza Azteca Mixcoatl Anahuac opens a community healing vigil and living ofrenda celebration with a blessing outside Calle 24 on 24th and Capp streets in San Francisco on Nov. 2, 2021. The event honored the memory of womxn, QTPOC, and children lost to violence. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As has become tradition over the decades, musicians, artists and vendors gathered at intersections, parking lots and other available open space, transforming 24th Street into a living ofrenda — or place of offering — a powerful reminder that honoring the dead need not always be somber ritual, but also can be one of joy and creative expression.\u003c/p>\n\u003cfigure id=\"attachment_11894962\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894962 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52321_001_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"A group of people carries a bright orange banner down the middle of a street.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52321_001_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52321_001_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52321_001_SanFrancisco_DiadelosMuertos_11022021-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52321_001_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52321_001_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group walks along 24th Street under colorful rows of papel picado while carrying a sign that says “38th Annual Dia de los Muertos San Francisco Mission District,” during a Day of the Dead celebration in San Francisco on Nov. 2, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Día de los Muertos is not just about celebrating the dead, but to also celebrate the living,” Jorge Molina, a bearer of Indigenous knowledge and self-described “journeyman,” said after performing a blessing at the new Mission Cultural Center for Latino Arts exhibit, “Ni Tanto Ni Tan Muertos, En Nuestra Memoria — Neither So Many, Nor So Dead, in Our Memories.”\u003c/p>\n\u003cfigure id=\"attachment_11894964\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894964 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52331_011_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"A woman wearing face paint and cemaspúchil in her hair sings to a crowd on the sidewalk.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52331_011_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52331_011_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52331_011_SanFrancisco_DiadelosMuertos_11022021-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52331_011_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52331_011_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Berta Hernández speaks during a community healing vigil and living ofrenda celebration on 24th and Capp streets in San Francisco on Nov. 2, 2021. The event honored the memory of womxn, QTPOC, and children lost to violence. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the vigil organized by Calle 24, Berta Hernández, a community health worker and educator, performed a spoken-word piece as part of a larger tribute to Evelyn Hernández, a San Francisco resident whose body was found floating in the Bay in 2002. Her young son, Alex, is still missing, \u003ca href=\"https://www.sanfranciscopolice.org/stay-safe/ongoing-investigations/homicides-and-cold-cases\">according to the San Francisco Police Department\u003c/a>.\u003c/p>\n\u003cp>Hernández first met Evelyn when the latter was a student in a youth theater group at the Mission Recreation Center in the mid-1990s. Evelyn was then 14 and had recently migrated from El Salvador. Over the years, Berta and her family grew very close with Evelyn, and were deeply affected by her death.\u003c/p>\n\u003cfigure id=\"attachment_11894972\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894972 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52357_037_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"Two people wear face paint and flowers in their hair and look at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52357_037_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52357_037_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52357_037_SanFrancisco_DiadelosMuertos_11022021-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52357_037_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52357_037_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mariah Cativo (left) and Lucy Molina pause for a portrait as they walk along 24th Street in San Francisco’s Mission District during a Dia de los Muertos celebration on Nov. 2, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That loss still hurts,” Hernández said in Spanish, noting that it has taken her 19 years to feel comfortable enough to “offer this small tribute.” She, along with others who knew Evelyn, performed a rendition of “Canción Sin Miedo,” an anthem that denounces gender-based violence and demands justice for femicides.\u003c/p>\n\u003cp>“Cantamos sin miedo, pedimos justicia. Gritamos por cada desaparecida. Que resuene fuerte ‘¡nos queremos vivas!’ Que caiga con fuerza el feminicida,” they sang. \u003cem>We sing without fear, we ask for justice. We yell for each woman that has dissappeared. Let it be heard that we want each of us alive and that there be an end to femicide.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11894973\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894973 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52341_022_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"A collage of photos with pink, green, and yellow paper flowers stands next a small mortar that carries burning sage. A few candles are nearby.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52341_022_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52341_022_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52341_022_SanFrancisco_DiadelosMuertos_11022021-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52341_022_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52341_022_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An altar made by the Young Women’s Freedom Center for people lost to police brutality and gender violence, as well as people who passed through the program, at a Dia de los Muertos celebration in San Francisco on Nov. 2, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hernández pointed to the increase in cases of gender-based violence in the U.S. and Latin America during the pandemic, \u003ca href=\"https://apnews.com/article/pandemics-health-violence-coronavirus-cfb40ca690c9f556b742bd39e1e8e9b6\">especially against Indigenous and migrant women\u003c/a>, as one of the key reasons Evelyn’s death is especially relevant now. The vigil also honored the lives of multiple other Bay Area women who were victims of violence.\u003c/p>\n\u003cp>“Dia de Muertos is about the dead, yes,” Hernández said. “But at the same time, it always is a denuncia social — an act of resistance.”\u003c/p>\n\u003cfigure id=\"attachment_11894967\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894967 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52344_025_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"A man wearing a hat and a pink jacket holds a box that includes many photos of a woman, candles and lights.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52344_025_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52344_025_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52344_025_SanFrancisco_DiadelosMuertos_11022021-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52344_025_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52344_025_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alfonso Ochoa Salas wears an altar for artist Yolanda López at the Mission Cultural Center for Latino Arts exhibit ‘Ni Tanto Ni Tan Muertos, En Nuestra Memoria — Neither So Many, Nor So Dead, in Our Memories,’ on the 35th annual Day of the Dead celebration at the center in San Francisco on Nov. 2, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The 38th Día de los Muertos celebration in San Francisco drew hundreds of residents, artists and vendors to the streets, where many sought to honor those both dead and living.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hundreds of residents filled the streets of the Mission District in San Francisco on Tuesday evening to honor and celebrate the dead on Día de los Muertos. The sidewalks of 24th Street, from Mission Street to Potrero Avenue, were packed with families, some holding candles, others wearing delicately crafted dresses, face paint and hair arrangements made out of cempasúchil, or marigolds.\u003c/p>\n\u003cfigure id=\"attachment_11894971\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894971 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52348_030_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"A person wears an elaborate head garment, face paint and purple, ribboned dress as they dance in the streets.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52348_030_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52348_030_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52348_030_SanFrancisco_DiadelosMuertos_11022021-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52348_030_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52348_030_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daniela Zurita walks during Dia de los Muertos in San Francisco on Nov. 2, 2021, in memory of her mother who passed away in August due to COVID-19. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photos and paintings of loved ones who had died were placed on tables or pinned on trees, surrounded by food, water, sage and cempasúchil.\u003c/p>\n\u003cp>On the corner of 24th and Capp streets, outside the Calle 24 Latino Cultural District building, a celebration honoring the lives of deceased womxn, queer and trans people of color, or QTPOC, and youth included dance performances by the the Mission-based Danza Azteca Mixcoatl Anahuac and readings by members of the Young Women’s Freedom Center.\u003c/p>\n\u003cp>(“\u003ca href=\"https://thebutlercollegian.com/2021/03/women-womxn-womyn/\">Womxn\u003c/a>” is an alternative spelling used to include those who feel excluded by the spellings “women” or “womyn,” particularly trans and nonbinary women.)\u003c/p>\n\u003cfigure id=\"attachment_11894963\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894963 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52324_004_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"A person wearing traditional Aztec dance regalia lifts their hands up in prayer in front of a poster that shares some of the statistics on violence committed against women and queer and trans people of color.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52324_004_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52324_004_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52324_004_SanFrancisco_DiadelosMuertos_11022021-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52324_004_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52324_004_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A member of the group Danza Azteca Mixcoatl Anahuac opens a community healing vigil and living ofrenda celebration with a blessing outside Calle 24 on 24th and Capp streets in San Francisco on Nov. 2, 2021. The event honored the memory of womxn, QTPOC, and children lost to violence. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As has become tradition over the decades, musicians, artists and vendors gathered at intersections, parking lots and other available open space, transforming 24th Street into a living ofrenda — or place of offering — a powerful reminder that honoring the dead need not always be somber ritual, but also can be one of joy and creative expression.\u003c/p>\n\u003cfigure id=\"attachment_11894962\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894962 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52321_001_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"A group of people carries a bright orange banner down the middle of a street.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52321_001_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52321_001_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52321_001_SanFrancisco_DiadelosMuertos_11022021-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52321_001_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52321_001_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group walks along 24th Street under colorful rows of papel picado while carrying a sign that says “38th Annual Dia de los Muertos San Francisco Mission District,” during a Day of the Dead celebration in San Francisco on Nov. 2, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Día de los Muertos is not just about celebrating the dead, but to also celebrate the living,” Jorge Molina, a bearer of Indigenous knowledge and self-described “journeyman,” said after performing a blessing at the new Mission Cultural Center for Latino Arts exhibit, “Ni Tanto Ni Tan Muertos, En Nuestra Memoria — Neither So Many, Nor So Dead, in Our Memories.”\u003c/p>\n\u003cfigure id=\"attachment_11894964\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894964 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52331_011_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"A woman wearing face paint and cemaspúchil in her hair sings to a crowd on the sidewalk.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52331_011_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52331_011_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52331_011_SanFrancisco_DiadelosMuertos_11022021-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52331_011_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52331_011_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Berta Hernández speaks during a community healing vigil and living ofrenda celebration on 24th and Capp streets in San Francisco on Nov. 2, 2021. The event honored the memory of womxn, QTPOC, and children lost to violence. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the vigil organized by Calle 24, Berta Hernández, a community health worker and educator, performed a spoken-word piece as part of a larger tribute to Evelyn Hernández, a San Francisco resident whose body was found floating in the Bay in 2002. Her young son, Alex, is still missing, \u003ca href=\"https://www.sanfranciscopolice.org/stay-safe/ongoing-investigations/homicides-and-cold-cases\">according to the San Francisco Police Department\u003c/a>.\u003c/p>\n\u003cp>Hernández first met Evelyn when the latter was a student in a youth theater group at the Mission Recreation Center in the mid-1990s. Evelyn was then 14 and had recently migrated from El Salvador. Over the years, Berta and her family grew very close with Evelyn, and were deeply affected by her death.\u003c/p>\n\u003cfigure id=\"attachment_11894972\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894972 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52357_037_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"Two people wear face paint and flowers in their hair and look at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52357_037_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52357_037_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52357_037_SanFrancisco_DiadelosMuertos_11022021-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52357_037_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52357_037_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mariah Cativo (left) and Lucy Molina pause for a portrait as they walk along 24th Street in San Francisco’s Mission District during a Dia de los Muertos celebration on Nov. 2, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That loss still hurts,” Hernández said in Spanish, noting that it has taken her 19 years to feel comfortable enough to “offer this small tribute.” She, along with others who knew Evelyn, performed a rendition of “Canción Sin Miedo,” an anthem that denounces gender-based violence and demands justice for femicides.\u003c/p>\n\u003cp>“Cantamos sin miedo, pedimos justicia. Gritamos por cada desaparecida. Que resuene fuerte ‘¡nos queremos vivas!’ Que caiga con fuerza el feminicida,” they sang. \u003cem>We sing without fear, we ask for justice. We yell for each woman that has dissappeared. Let it be heard that we want each of us alive and that there be an end to femicide.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11894973\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894973 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52341_022_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"A collage of photos with pink, green, and yellow paper flowers stands next a small mortar that carries burning sage. A few candles are nearby.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52341_022_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52341_022_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52341_022_SanFrancisco_DiadelosMuertos_11022021-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52341_022_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52341_022_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An altar made by the Young Women’s Freedom Center for people lost to police brutality and gender violence, as well as people who passed through the program, at a Dia de los Muertos celebration in San Francisco on Nov. 2, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hernández pointed to the increase in cases of gender-based violence in the U.S. and Latin America during the pandemic, \u003ca href=\"https://apnews.com/article/pandemics-health-violence-coronavirus-cfb40ca690c9f556b742bd39e1e8e9b6\">especially against Indigenous and migrant women\u003c/a>, as one of the key reasons Evelyn’s death is especially relevant now. The vigil also honored the lives of multiple other Bay Area women who were victims of violence.\u003c/p>\n\u003cp>“Dia de Muertos is about the dead, yes,” Hernández said. “But at the same time, it always is a denuncia social — an act of resistance.”\u003c/p>\n\u003cfigure id=\"attachment_11894967\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11894967 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/11/RS52344_025_SanFrancisco_DiadelosMuertos_11022021-qut.jpg\" alt=\"A man wearing a hat and a pink jacket holds a box that includes many photos of a woman, candles and lights.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52344_025_SanFrancisco_DiadelosMuertos_11022021-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52344_025_SanFrancisco_DiadelosMuertos_11022021-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52344_025_SanFrancisco_DiadelosMuertos_11022021-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52344_025_SanFrancisco_DiadelosMuertos_11022021-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/11/RS52344_025_SanFrancisco_DiadelosMuertos_11022021-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alfonso Ochoa Salas wears an altar for artist Yolanda López at the Mission Cultural Center for Latino Arts exhibit ‘Ni Tanto Ni Tan Muertos, En Nuestra Memoria — Neither So Many, Nor So Dead, in Our Memories,’ on the 35th annual Day of the Dead celebration at the center in San Francisco on Nov. 2, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "sf-ethics-commission-some-city-officials-got-free-tickets-to-pricey-outside-lands-music-fest-through-ethically-questionable-loophole",
"title": "City Report: SF Officials Got Free Tickets to Pricey Outside Lands Fest Through Ethically Questionable Loophole",
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"headTitle": "City Report: SF Officials Got Free Tickets to Pricey Outside Lands Fest Through Ethically Questionable Loophole | KQED",
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"content": "\u003cp>After a two-year hiatus, Outside Lands is returning to Golden Gate Park this weekend.\u003c/p>\n\u003cp>And with the massive outdoor festival come some certainties: Neighbors will complain about the noise and Uber cars will clog the surrounding streets, while many avid \u003ca href=\"https://www.sfoutsidelands.com/tickets/\">concertgoers have shelled out more than $900\u003c/a> to attend the three-day music bash that includes headliners like Lizzo and The Strokes.\u003c/p>\n\u003cp>But for some San Francisco city officials, those tickets will be something of a fringe benefit, gratis. In other words: free.\u003c/p>\n\u003cp>According to a \u003ca href=\"https://sfethics.org/ethics/2021/09/report-on-gift-laws-part-b-gifts-to-city-departments.html\">San Francisco Ethics Commission report released in late September\u003c/a>, city officials have been gifted at least $430,950 in free tickets to the festival through a loophole that, although technically legal, is ethically dubious, according to the report’s authors.\u003c/p>\n\u003cp>That’s because the city’s Recreation and Parks Department — which is the agency accepting the tickets from Another Planet Entertainment, which puts on the festival — is also in charge of the contract for the event space. That makes them a “restricted source” for officials involved in the contract, which means that accepting any gifts from entities they are doing business with poses a potential conflict of interest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in this case, the Recreation and Parks Department is acting like a go-between, accepting the tickets in bulk from Another Planet and distributing them among its staff — so staff members needn’t accept them directly from the vendor. That, the report says, is effectively a loophole in the law.\u003c/p>\n\u003cp>“Department officials would clearly be prohibited from accepting free tickets provided to them directly by Another Planet. Yet, \u003ca href=\"https://sfethics.org/ethics/2021/09/report-on-gift-laws-part-b-gifts-to-city-departments.html\">Rec and Parks nonetheless regularly distributes tickets provided for free by Another Planet to its employees and officers\u003c/a>, effectively resulting in the same outcome,” the report found.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11894444\" class=\"wp-caption aligncenter\" style=\"max-width: 779px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/ethics_recpark_1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11894444\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/ethics_recpark_1.png\" alt=\"A graphic shows the Outside Lands vendor on the left, with an arrow to the Parks Department, and another arrow to officials. Another arrow directly from the Outside Lands vendor to city officials is crossed out.\" width=\"779\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/ethics_recpark_1.png 779w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/ethics_recpark_1-160x83.png 160w\" sizes=\"(max-width: 779px) 100vw, 779px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Graphic from San Francisco Ethics Commission report\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement in response, the Recreation and Parks Department said they follow “all local and state rules and reporting requirements” and that their contract, which includes a provision for free tickets in writing, was approved by the San Francisco Board of Supervisors. Recreation and Parks Department General Manager Phil Ginsburg declined an interview request.\u003c/p>\n\u003cp>The Ethics Commission report acknowledges the truth in that response (with the exception of some missing reporting going back to 2009, which it also dinged Rec and Parks for). But the report essentially makes the case that while the practice follows the letter of the law, it most certainly flouts the spirit of the law, particularly given the sheer number of free tickets doled out.\u003c/p>\n\u003cp>Between 2015 and 2019 — the last year the festival took place — the department distributed some 1,855 free tickets to public officials across the city, including department staffers and employees in other city departments, according to the report.\u003c/p>\n\u003cp>Of those known Outside Lands tickets handed to Rec and Parks between 2015 and 2019, more than 1,200 went to staffers and other officials in the departments. The report does not include ticket data from this year.\u003c/p>\n\u003cp>That includes Public Works, whose former director, Mohammed Nuru, was ousted last year after being indicted by the U.S. Department of Justice for allegedly taking bribes to award city contracts. He was one of four city department heads to step down or otherwise be ousted during the ensuing ethics scandal, which alleges many instances of bribery and corruption in San Francisco city government.\u003c/p>\n\u003cp>Ethics disclosure documents obtained by KQED in a records request also \u003ca href=\"https://www.documentcloud.org/projects/outside-lands-tickets-205461/\">detail other city officials who obtained those tickets\u003c/a> originally given to Rec and Parks in 2019 (at least two tickets each, and often more): Human Rights Commission Executive Director Sheryl Davis, former Homelessness Department Director Jeff Kositsky, Manny Yekutiel (who was appointed to an SFMTA commission in 2021), and San Francisco Municipal Transportation Agency Board of Directors Chair Gwyneth Borden, among others. Former Public Defender Jeff Adachi, who died in February 2019, also netted free Outside Lands tickets in 2018.\u003c/p>\n\u003cp>(\u003cem>Disclosure: KQED was given six free Outside Lands tickets in 2019, according to city filings. These were not related to news coverage. Another Planet Entertainment is also a sponsor of KQED.\u003c/em>)\u003c/p>\n\u003cp>In 2016, Ken Garcia, a former San Francisco Examiner columnist and then-de Young Museum staffer, netted free tickets from Rec and Parks. So did City Attorney Dennis Herrera (who netted six tickets), and former Assessor-Recorder (now City Administrator) Carmen Chu (who netted nine VIP tickets). Board of Supervisors staff netted 24 Outside Lands tickets among themselves in 2016.\u003c/p>\n\u003cp>The restriction on accepting gifts is “designed to limit the potential for pay-to-play and avoid the appearance of preferential treatment,” the report notes. “Acting as an intermediary for a high volume of such gifts gravely undermines the restricted source rule,” according to the report.\u003c/p>\n\u003cfigure id=\"attachment_11894446\" class=\"wp-caption aligncenter\" style=\"max-width: 613px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/ethics_recpark2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11894446\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/ethics_recpark2.jpg\" alt=\"A chart describes dollar amounts in tickets distributed by the Rec and Park department.\" width=\"613\" height=\"231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/ethics_recpark2.jpg 613w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/ethics_recpark2-160x60.jpg 160w\" sizes=\"(max-width: 613px) 100vw, 613px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From San Francisco Ethics Commission report\u003c/figcaption>\u003c/figure>\n\u003cp>Another Planet Entertainment declined to be interviewed and instead directed comments to the Recreation and Parks Department.\u003c/p>\n\u003cp>[aside label=\"related coverage\" tag=\"san-francisco-corruption\"]The issue is hardly limited to Outside Lands. The same report also details the widespread legal, but ethically questionable, distribution of free tickets to city officials for events in various public venues, from the War Memorial Opera House to the San Francisco Symphony — cumulatively valued at more than $500,000 between 2009 and 2021.\u003c/p>\n\u003cp>“This flow of personal benefits to City officers and employees is significant,” the report found.\u003c/p>\n\u003cp>Rec and Parks Commission President Mark Buell did not return requests for comment. But a former commissioner and vice president, Allan Low, who stepped down in June, acknowledged that he had received free Outside Lands tickets in previous years, saying it was useful to attend the festival and see, firsthand, how his department’s work was being carried out.\u003c/p>\n\u003cp>“You could see the event and appreciate the event, plus observe the crowd control, the parking. There was always something coming up either immediately before or after Outside Lands where there were complaints about traffic, noise,” Low said. “Shutting down the park, or restoration of the park.”\u003c/p>\n\u003cp>Rec and Parks made similar arguments in its communications with Ethics Commission staff in a series of exchanges that KQED obtained using open records laws.\u003c/p>\n\u003cp>“We rely on requests [for tickets] because different circumstances create an interest for different people,” Rec and Parks spokesperson Sarah Madland wrote to Ethics Commission staff in an email sent on Sept. 14, 2021. “For example, this year, Outside Lands will be one of the first large events locally during COVID. This could create a subset of people with a desire to understand how the protocols are working.”\u003c/p>\n\u003cp>But the Ethics Commission report also pokes holes in that argument, noting that city officials don’t need tickets for entry if they have a work-related reason to be on-site.\u003c/p>\n\u003cp>“That’s fair criticism,” former Commissioner Low conceded.\u003c/p>\n\u003cp>Rec and Parks gave its own commissioners free tickets to Outside Lands in both 2017 and 2019, at least, the agency disclosed to Ethics Commission staff. In 2017, six commissioners received a total of 12 tickets worth a combined value of $9,540, and in 2019, two commissioners received a total of four tickets worth a combined value of $3,140.\u003c/p>\n\u003cp>Closing loopholes in ticket gifting would likely require new legislation from the San Francisco Board of Supervisors. But Supervisor Connie Chan, who represents the Richmond District — which borders the Outside Lands festival — told KQED that corruption is so widespread in the city that lawmakers may need to first concentrate on broader ethics reform.\u003c/p>\n\u003cp>“As we take a step back, we have to look at our city government as a whole, and have to look at the changes we need to make to root out corruption,” she said.\u003c/p>\n\u003cp>Chan has scheduled a hearing for Nov. 18 to probe the broader relationship between outside philanthropic entities and the Recreation and Parks Department, and examine the various ethics concerns that relationship has raised.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the meantime, if you’re still looking for Outside Lands tickets for this weekend, you’re out of luck: It’s sold out across the board.\u003c/p>\n\n",
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"excerpt": "Between 2015 and 2019, the San Francisco Recreation and Parks Department, which is in charge of the contract for the event space, distributed more than 1,800 free tickets to its staffers and other city officials, according to a recent San Francisco Ethics Commission report.",
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"title": "City Report: SF Officials Got Free Tickets to Pricey Outside Lands Fest Through Ethically Questionable Loophole | KQED",
"description": "Between 2015 and 2019, the San Francisco Recreation and Parks Department, which is in charge of the contract for the event space, distributed more than 1,800 free tickets to its staffers and other city officials, according to a recent San Francisco Ethics Commission report.",
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"headline": "City Report: SF Officials Got Free Tickets to Pricey Outside Lands Fest Through Ethically Questionable Loophole",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a two-year hiatus, Outside Lands is returning to Golden Gate Park this weekend.\u003c/p>\n\u003cp>And with the massive outdoor festival come some certainties: Neighbors will complain about the noise and Uber cars will clog the surrounding streets, while many avid \u003ca href=\"https://www.sfoutsidelands.com/tickets/\">concertgoers have shelled out more than $900\u003c/a> to attend the three-day music bash that includes headliners like Lizzo and The Strokes.\u003c/p>\n\u003cp>But for some San Francisco city officials, those tickets will be something of a fringe benefit, gratis. In other words: free.\u003c/p>\n\u003cp>According to a \u003ca href=\"https://sfethics.org/ethics/2021/09/report-on-gift-laws-part-b-gifts-to-city-departments.html\">San Francisco Ethics Commission report released in late September\u003c/a>, city officials have been gifted at least $430,950 in free tickets to the festival through a loophole that, although technically legal, is ethically dubious, according to the report’s authors.\u003c/p>\n\u003cp>That’s because the city’s Recreation and Parks Department — which is the agency accepting the tickets from Another Planet Entertainment, which puts on the festival — is also in charge of the contract for the event space. That makes them a “restricted source” for officials involved in the contract, which means that accepting any gifts from entities they are doing business with poses a potential conflict of interest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in this case, the Recreation and Parks Department is acting like a go-between, accepting the tickets in bulk from Another Planet and distributing them among its staff — so staff members needn’t accept them directly from the vendor. That, the report says, is effectively a loophole in the law.\u003c/p>\n\u003cp>“Department officials would clearly be prohibited from accepting free tickets provided to them directly by Another Planet. Yet, \u003ca href=\"https://sfethics.org/ethics/2021/09/report-on-gift-laws-part-b-gifts-to-city-departments.html\">Rec and Parks nonetheless regularly distributes tickets provided for free by Another Planet to its employees and officers\u003c/a>, effectively resulting in the same outcome,” the report found.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11894444\" class=\"wp-caption aligncenter\" style=\"max-width: 779px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/ethics_recpark_1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11894444\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/ethics_recpark_1.png\" alt=\"A graphic shows the Outside Lands vendor on the left, with an arrow to the Parks Department, and another arrow to officials. Another arrow directly from the Outside Lands vendor to city officials is crossed out.\" width=\"779\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/ethics_recpark_1.png 779w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/ethics_recpark_1-160x83.png 160w\" sizes=\"(max-width: 779px) 100vw, 779px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Graphic from San Francisco Ethics Commission report\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement in response, the Recreation and Parks Department said they follow “all local and state rules and reporting requirements” and that their contract, which includes a provision for free tickets in writing, was approved by the San Francisco Board of Supervisors. Recreation and Parks Department General Manager Phil Ginsburg declined an interview request.\u003c/p>\n\u003cp>The Ethics Commission report acknowledges the truth in that response (with the exception of some missing reporting going back to 2009, which it also dinged Rec and Parks for). But the report essentially makes the case that while the practice follows the letter of the law, it most certainly flouts the spirit of the law, particularly given the sheer number of free tickets doled out.\u003c/p>\n\u003cp>Between 2015 and 2019 — the last year the festival took place — the department distributed some 1,855 free tickets to public officials across the city, including department staffers and employees in other city departments, according to the report.\u003c/p>\n\u003cp>Of those known Outside Lands tickets handed to Rec and Parks between 2015 and 2019, more than 1,200 went to staffers and other officials in the departments. The report does not include ticket data from this year.\u003c/p>\n\u003cp>That includes Public Works, whose former director, Mohammed Nuru, was ousted last year after being indicted by the U.S. Department of Justice for allegedly taking bribes to award city contracts. He was one of four city department heads to step down or otherwise be ousted during the ensuing ethics scandal, which alleges many instances of bribery and corruption in San Francisco city government.\u003c/p>\n\u003cp>Ethics disclosure documents obtained by KQED in a records request also \u003ca href=\"https://www.documentcloud.org/projects/outside-lands-tickets-205461/\">detail other city officials who obtained those tickets\u003c/a> originally given to Rec and Parks in 2019 (at least two tickets each, and often more): Human Rights Commission Executive Director Sheryl Davis, former Homelessness Department Director Jeff Kositsky, Manny Yekutiel (who was appointed to an SFMTA commission in 2021), and San Francisco Municipal Transportation Agency Board of Directors Chair Gwyneth Borden, among others. Former Public Defender Jeff Adachi, who died in February 2019, also netted free Outside Lands tickets in 2018.\u003c/p>\n\u003cp>(\u003cem>Disclosure: KQED was given six free Outside Lands tickets in 2019, according to city filings. These were not related to news coverage. Another Planet Entertainment is also a sponsor of KQED.\u003c/em>)\u003c/p>\n\u003cp>In 2016, Ken Garcia, a former San Francisco Examiner columnist and then-de Young Museum staffer, netted free tickets from Rec and Parks. So did City Attorney Dennis Herrera (who netted six tickets), and former Assessor-Recorder (now City Administrator) Carmen Chu (who netted nine VIP tickets). Board of Supervisors staff netted 24 Outside Lands tickets among themselves in 2016.\u003c/p>\n\u003cp>The restriction on accepting gifts is “designed to limit the potential for pay-to-play and avoid the appearance of preferential treatment,” the report notes. “Acting as an intermediary for a high volume of such gifts gravely undermines the restricted source rule,” according to the report.\u003c/p>\n\u003cfigure id=\"attachment_11894446\" class=\"wp-caption aligncenter\" style=\"max-width: 613px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/ethics_recpark2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11894446\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/ethics_recpark2.jpg\" alt=\"A chart describes dollar amounts in tickets distributed by the Rec and Park department.\" width=\"613\" height=\"231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/ethics_recpark2.jpg 613w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/ethics_recpark2-160x60.jpg 160w\" sizes=\"(max-width: 613px) 100vw, 613px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From San Francisco Ethics Commission report\u003c/figcaption>\u003c/figure>\n\u003cp>Another Planet Entertainment declined to be interviewed and instead directed comments to the Recreation and Parks Department.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The issue is hardly limited to Outside Lands. The same report also details the widespread legal, but ethically questionable, distribution of free tickets to city officials for events in various public venues, from the War Memorial Opera House to the San Francisco Symphony — cumulatively valued at more than $500,000 between 2009 and 2021.\u003c/p>\n\u003cp>“This flow of personal benefits to City officers and employees is significant,” the report found.\u003c/p>\n\u003cp>Rec and Parks Commission President Mark Buell did not return requests for comment. But a former commissioner and vice president, Allan Low, who stepped down in June, acknowledged that he had received free Outside Lands tickets in previous years, saying it was useful to attend the festival and see, firsthand, how his department’s work was being carried out.\u003c/p>\n\u003cp>“You could see the event and appreciate the event, plus observe the crowd control, the parking. There was always something coming up either immediately before or after Outside Lands where there were complaints about traffic, noise,” Low said. “Shutting down the park, or restoration of the park.”\u003c/p>\n\u003cp>Rec and Parks made similar arguments in its communications with Ethics Commission staff in a series of exchanges that KQED obtained using open records laws.\u003c/p>\n\u003cp>“We rely on requests [for tickets] because different circumstances create an interest for different people,” Rec and Parks spokesperson Sarah Madland wrote to Ethics Commission staff in an email sent on Sept. 14, 2021. “For example, this year, Outside Lands will be one of the first large events locally during COVID. This could create a subset of people with a desire to understand how the protocols are working.”\u003c/p>\n\u003cp>But the Ethics Commission report also pokes holes in that argument, noting that city officials don’t need tickets for entry if they have a work-related reason to be on-site.\u003c/p>\n\u003cp>“That’s fair criticism,” former Commissioner Low conceded.\u003c/p>\n\u003cp>Rec and Parks gave its own commissioners free tickets to Outside Lands in both 2017 and 2019, at least, the agency disclosed to Ethics Commission staff. In 2017, six commissioners received a total of 12 tickets worth a combined value of $9,540, and in 2019, two commissioners received a total of four tickets worth a combined value of $3,140.\u003c/p>\n\u003cp>Closing loopholes in ticket gifting would likely require new legislation from the San Francisco Board of Supervisors. But Supervisor Connie Chan, who represents the Richmond District — which borders the Outside Lands festival — told KQED that corruption is so widespread in the city that lawmakers may need to first concentrate on broader ethics reform.\u003c/p>\n\u003cp>“As we take a step back, we have to look at our city government as a whole, and have to look at the changes we need to make to root out corruption,” she said.\u003c/p>\n\u003cp>Chan has scheduled a hearing for Nov. 18 to probe the broader relationship between outside philanthropic entities and the Recreation and Parks Department, and examine the various ethics concerns that relationship has raised.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, if you’re still looking for Outside Lands tickets for this weekend, you’re out of luck: It’s sold out across the board.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "debut-of-dr-huey-p-newton-bust-spotlights-an-influential-black-panther-party-leader",
"title": "Debut of Dr. Huey P. Newton Bust Spotlights an Influential Black Panther Party Leader",
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"headTitle": "Debut of Dr. Huey P. Newton Bust Spotlights an Influential Black Panther Party Leader | KQED",
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"content": "\u003cp>It was the first time in decades that she’d seen his glow.\u003c/p>\n\u003cp>At the California foundry that fired a bust of Black Panther Party co-founder Huey Percy Newton, his surviving spouse supervised as a bronze caster put finishing touches on what is now the first permanent public art piece honoring the party in the city of its founding.\u003c/p>\n\u003cp>“It just glowed, like he did,” Fredrika Newton said. “His skin just glistened.”\u003c/p>\n\u003cp>The unveiling took place Sunday at Dr. Huey P. Newton Way and Mandela Parkway, near the spot where Newton was murdered in 1989. It came as Panther alumni, descendants and others gathered to mark the 55th anniversary of a party that has long been both celebrated and vilified. [pullquote size=\"medium\" align=\"right\" citation=\"Fredrika Newton, founder of the Dr. Huey P. Newton Foundation\"]‘I would like for people to see him as a total human being … he wasn’t just an iconic figure in a wicker chair. This was a man with vulnerabilities, with feelings, with insecurities, with frailties, just like anybody.’[/pullquote]\u003c/p>\n\u003cp>Newton remains a divisive figure. Many people still dismiss him as the leader of a band of beret-wearing, gun-toting hustlers — and no doubt would deplore the prospect of an American city memorializing him with a statue. Others say his failings were a drag on the Black Power movement.\u003c/p>\n\u003cp>Still, many love him to this day, venerating him as a man who, with Bobby Seale, sought to unite all Black, impoverished and oppressed people against America’s racist, capitalistic and unjust interests. His influence on the Black Lives Matter movement is undeniable.\u003c/p>\n\u003cp>“Huey was maybe the only man I’ve ever known that was a truly free man,” said his older brother, Melvin Newton. “He was universal. He felt that no one could be on his back, if he stood up. And he always stood ramrod straight.”\u003c/p>\n\u003cfigure id=\"attachment_11893574\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11893574 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Frederika_Newton-800x533.jpg\" alt=\"A woman with long gray braids and hoop earrings smiles as she stands beside a bronze bust of the head and bare shoulders of Huey P. Newton, who has a '70s-style Afro.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Frederika_Newton-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Frederika_Newton-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Frederika_Newton-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Frederika_Newton-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Frederika_Newton.jpg 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fredrika Newton, founder of the Dr. Huey P. Newton Foundation, stands with a sculpture created by Dana King in Oakland on Oct. 24, 2021, near where Newton was murdered in 1989. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The youngest of seven children, Newton was born on Feb. 17, 1942, in Monroe, Louisiana.\u003c/p>\n\u003cp>His parents, Walter and Armelia Newton, moved the family to Oakland during a wave of the Great Migration, when the promise of work and less overt racial oppression lured thousands of African American families out of the Jim Crow South.\u003c/p>\n\u003cp>Newton struggled with his education, unable to read or write in high school as he was arrested for petty crimes. It was only after graduation from high school that, one might say, his real education began; a self-taught reader, he studied the works of W.E.B. Du Bois, Frantz Fanon and James Baldwin.\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>By his late 30s, he had a doctorate in social philosophy from the University of California at Santa Cruz, and he was well on his way to global fame and notoriety.\u003c/p>\n\u003cp>Newton met Seale at a community college in Oakland, and the two founded the Black Panther Party for Self Defense in October 1966.\u003c/p>\n\u003cp>Newton, the minister for defense, and Seale, the chair, were frustrated with the largely Southern civil rights movement spearheaded by the Rev. Martin Luther King Jr., which they felt had failed to address the problems of Black people in the North and West.\u003c/p>\n\u003cfigure id=\"attachment_11893575\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11893575 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Image-from-iOS-800x533.jpg\" alt=\"A woman with long gray hair and a purple knitted cap speaks into a microphone, amid people holding umbrellas.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS.jpg 1259w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sculptor Dana King speaks to the audience at the unveiling at Dr. Huey P. Newton Way and Mandela Parkway in Oakland on Oct. 24, 2021, near where Newton was murdered in 1989. The sculpture is the City of Oakland’s first permanent art installation honoring the Black Panther Party, and the unveiling took place during a commemoration of the party’s 55th anniversary. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Historian Robert W. Widell Jr., who as a graduate student helped catalog Newton’s writings at Stanford University, said Newton was not a natural figurehead.\u003c/p>\n\u003cp>“My sense is that he sort of pushed himself out there to be this public, confrontational figure on the streets,” said Widell, now the history department chair at the University of Rhode Island.\u003c/p>\n\u003cp>“But I don’t know that that was his natural inclination, personality-wise. He was more of a theoretician. And I think he was pretty surprised at how rapidly [the Panthers] grew in exposure, whether it was fame or infamy.”\u003c/p>\n\u003cp>Newton and Seale wrote the party’s Ten-Point Program, which laid out the party’s beliefs and its demands. The party’s Survival Programs were beloved in nearly 70 communities the U.S. and abroad where it had chapters. The Panthers were known, among other things, for free breakfast programs for schoolchildren and a pioneering sickle cell disease testing program.\u003c/p>\n\u003cp>Panthers’ antagonistic relationship with law enforcement has long cast a shadow over its legacy. In 1967, Newton was jailed for the shooting death of an Oakland police officer who had pulled him over. Although Newton was himself shot during the encounter and denied being responsible for the officer’s death, he was tried and convicted of voluntary manslaughter in 1968.\u003c/p>\n\u003cp>While imprisoned, the “Free Huey” campaign helped make him a symbol of racial injustice in the American criminal legal system.\u003c/p>\n\u003cp>His conviction was overturned in 1970, and he emerged from prison to discover the party had grown well beyond Oakland. Its image largely centered on armed self-defense, including violent and lethal encounters between Panthers and police, both in Oakland and around the country.\u003c/p>\n\u003cp>“I think we also need to recognize the very real ways in which a lot of the violence that surrounded the Panthers was instigated and provoked by law enforcement themselves,” Widell said.\u003c/p>\n\u003cfigure id=\"attachment_11893580\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11893580 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Image-from-iOS-7-800x533.jpg\" alt=\"A crowd of people with umbrellas and masks watch or record with their phone action beyond the frame to the right.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-7.jpg 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Despite the rain, the crowd turned out for the unveiling of the Dr. Huey P. Newton Memorial Sculpture, at Dr. Huey P. Newton Way and Mandela Parkway in Oakland on Oct. 24, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Newton sought to rehabilitate the Panthers’ image, urging members to focus on the popular Survival Programs. He advocated for the rights of the Black community to defend itself from police, but changed his view that party members should openly carry guns as a check on police brutality.\u003c/p>\n\u003cp>Peter Coyote, the American actor and founder of the Diggers, a San Francisco improv troupe that worked with Panthers early on, grew close to Newton. The actor said the two communicated by phone almost weekly while Newton was incarcerated.\u003c/p>\n\u003cp>“He was funny,” Coyote said, “and he was also deadly serious. He knew he was putting his life at risk and he was playing for keeps. And when you meet people like that, you don’t forget them.”[aside tag=\"black-panther-party\" label=\"More Related Stories\"]\u003c/p>\n\u003cp>Although it had been in decline for several years, the Black Panther Party didn’t fold until 1982. That was after years of police surveillance, as well as dwindling national membership, infighting, allegations of embezzlement and scandals in which Newton was implicated and criminally charged.\u003c/p>\n\u003cp>Then, on Aug. 22, 1989, Newton was murdered in Oakland, California, by a drug dealer. He was 47.\u003c/p>\n\u003cp>Newton’s bust, Fredrika Newton said, is meant to celebrate someone whose life and contributions to American history mean much more than his decline, including addictions to alcohol and drugs, and demise.\u003c/p>\n\u003cp>“I would like for people to see him as a total human being,” said Newton, co-founder of the Dr. Huey P. Newton Foundation. “That he wasn’t just an iconic figure in a wicker chair. This was a man with vulnerabilities, with feelings, with insecurities, with frailties, just like anybody.”\u003c/p>\n\u003cp>\u003cem>Aaron Morrison, a native of Oakland, California, is a member of The AP’s Race and Ethnicity team. Follow him on \u003ca href=\"https://www.twitter.com/aaronlmorrison\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The Dr. Huey P. Newton Memorial Sculpture, created by Dana King, was unveiled during a commemoration of the Black Panther Party's 55th anniversary at Dr. Huey P. Newton Way and Mandela Parkway. The sculpture is the City of Oakland's first permanent art installation honoring the Black Panther Party.",
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"title": "Debut of Dr. Huey P. Newton Bust Spotlights an Influential Black Panther Party Leader | KQED",
"description": "The Dr. Huey P. Newton Memorial Sculpture, created by Dana King, was unveiled during a commemoration of the Black Panther Party's 55th anniversary at Dr. Huey P. Newton Way and Mandela Parkway. The sculpture is the City of Oakland's first permanent art installation honoring the Black Panther Party.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the first time in decades that she’d seen his glow.\u003c/p>\n\u003cp>At the California foundry that fired a bust of Black Panther Party co-founder Huey Percy Newton, his surviving spouse supervised as a bronze caster put finishing touches on what is now the first permanent public art piece honoring the party in the city of its founding.\u003c/p>\n\u003cp>“It just glowed, like he did,” Fredrika Newton said. “His skin just glistened.”\u003c/p>\n\u003cp>The unveiling took place Sunday at Dr. Huey P. Newton Way and Mandela Parkway, near the spot where Newton was murdered in 1989. It came as Panther alumni, descendants and others gathered to mark the 55th anniversary of a party that has long been both celebrated and vilified. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Newton remains a divisive figure. Many people still dismiss him as the leader of a band of beret-wearing, gun-toting hustlers — and no doubt would deplore the prospect of an American city memorializing him with a statue. Others say his failings were a drag on the Black Power movement.\u003c/p>\n\u003cp>Still, many love him to this day, venerating him as a man who, with Bobby Seale, sought to unite all Black, impoverished and oppressed people against America’s racist, capitalistic and unjust interests. His influence on the Black Lives Matter movement is undeniable.\u003c/p>\n\u003cp>“Huey was maybe the only man I’ve ever known that was a truly free man,” said his older brother, Melvin Newton. “He was universal. He felt that no one could be on his back, if he stood up. And he always stood ramrod straight.”\u003c/p>\n\u003cfigure id=\"attachment_11893574\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11893574 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Frederika_Newton-800x533.jpg\" alt=\"A woman with long gray braids and hoop earrings smiles as she stands beside a bronze bust of the head and bare shoulders of Huey P. Newton, who has a '70s-style Afro.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Frederika_Newton-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Frederika_Newton-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Frederika_Newton-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Frederika_Newton-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Frederika_Newton.jpg 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fredrika Newton, founder of the Dr. Huey P. Newton Foundation, stands with a sculpture created by Dana King in Oakland on Oct. 24, 2021, near where Newton was murdered in 1989. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The youngest of seven children, Newton was born on Feb. 17, 1942, in Monroe, Louisiana.\u003c/p>\n\u003cp>His parents, Walter and Armelia Newton, moved the family to Oakland during a wave of the Great Migration, when the promise of work and less overt racial oppression lured thousands of African American families out of the Jim Crow South.\u003c/p>\n\u003cp>Newton struggled with his education, unable to read or write in high school as he was arrested for petty crimes. It was only after graduation from high school that, one might say, his real education began; a self-taught reader, he studied the works of W.E.B. Du Bois, Frantz Fanon and James Baldwin.\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By his late 30s, he had a doctorate in social philosophy from the University of California at Santa Cruz, and he was well on his way to global fame and notoriety.\u003c/p>\n\u003cp>Newton met Seale at a community college in Oakland, and the two founded the Black Panther Party for Self Defense in October 1966.\u003c/p>\n\u003cp>Newton, the minister for defense, and Seale, the chair, were frustrated with the largely Southern civil rights movement spearheaded by the Rev. Martin Luther King Jr., which they felt had failed to address the problems of Black people in the North and West.\u003c/p>\n\u003cfigure id=\"attachment_11893575\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11893575 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Image-from-iOS-800x533.jpg\" alt=\"A woman with long gray hair and a purple knitted cap speaks into a microphone, amid people holding umbrellas.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS.jpg 1259w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sculptor Dana King speaks to the audience at the unveiling at Dr. Huey P. Newton Way and Mandela Parkway in Oakland on Oct. 24, 2021, near where Newton was murdered in 1989. The sculpture is the City of Oakland’s first permanent art installation honoring the Black Panther Party, and the unveiling took place during a commemoration of the party’s 55th anniversary. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Historian Robert W. Widell Jr., who as a graduate student helped catalog Newton’s writings at Stanford University, said Newton was not a natural figurehead.\u003c/p>\n\u003cp>“My sense is that he sort of pushed himself out there to be this public, confrontational figure on the streets,” said Widell, now the history department chair at the University of Rhode Island.\u003c/p>\n\u003cp>“But I don’t know that that was his natural inclination, personality-wise. He was more of a theoretician. And I think he was pretty surprised at how rapidly [the Panthers] grew in exposure, whether it was fame or infamy.”\u003c/p>\n\u003cp>Newton and Seale wrote the party’s Ten-Point Program, which laid out the party’s beliefs and its demands. The party’s Survival Programs were beloved in nearly 70 communities the U.S. and abroad where it had chapters. The Panthers were known, among other things, for free breakfast programs for schoolchildren and a pioneering sickle cell disease testing program.\u003c/p>\n\u003cp>Panthers’ antagonistic relationship with law enforcement has long cast a shadow over its legacy. In 1967, Newton was jailed for the shooting death of an Oakland police officer who had pulled him over. Although Newton was himself shot during the encounter and denied being responsible for the officer’s death, he was tried and convicted of voluntary manslaughter in 1968.\u003c/p>\n\u003cp>While imprisoned, the “Free Huey” campaign helped make him a symbol of racial injustice in the American criminal legal system.\u003c/p>\n\u003cp>His conviction was overturned in 1970, and he emerged from prison to discover the party had grown well beyond Oakland. Its image largely centered on armed self-defense, including violent and lethal encounters between Panthers and police, both in Oakland and around the country.\u003c/p>\n\u003cp>“I think we also need to recognize the very real ways in which a lot of the violence that surrounded the Panthers was instigated and provoked by law enforcement themselves,” Widell said.\u003c/p>\n\u003cfigure id=\"attachment_11893580\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11893580 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Image-from-iOS-7-800x533.jpg\" alt=\"A crowd of people with umbrellas and masks watch or record with their phone action beyond the frame to the right.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Image-from-iOS-7.jpg 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Despite the rain, the crowd turned out for the unveiling of the Dr. Huey P. Newton Memorial Sculpture, at Dr. Huey P. Newton Way and Mandela Parkway in Oakland on Oct. 24, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Newton sought to rehabilitate the Panthers’ image, urging members to focus on the popular Survival Programs. He advocated for the rights of the Black community to defend itself from police, but changed his view that party members should openly carry guns as a check on police brutality.\u003c/p>\n\u003cp>Peter Coyote, the American actor and founder of the Diggers, a San Francisco improv troupe that worked with Panthers early on, grew close to Newton. The actor said the two communicated by phone almost weekly while Newton was incarcerated.\u003c/p>\n\u003cp>“He was funny,” Coyote said, “and he was also deadly serious. He knew he was putting his life at risk and he was playing for keeps. And when you meet people like that, you don’t forget them.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although it had been in decline for several years, the Black Panther Party didn’t fold until 1982. That was after years of police surveillance, as well as dwindling national membership, infighting, allegations of embezzlement and scandals in which Newton was implicated and criminally charged.\u003c/p>\n\u003cp>Then, on Aug. 22, 1989, Newton was murdered in Oakland, California, by a drug dealer. He was 47.\u003c/p>\n\u003cp>Newton’s bust, Fredrika Newton said, is meant to celebrate someone whose life and contributions to American history mean much more than his decline, including addictions to alcohol and drugs, and demise.\u003c/p>\n\u003cp>“I would like for people to see him as a total human being,” said Newton, co-founder of the Dr. Huey P. Newton Foundation. “That he wasn’t just an iconic figure in a wicker chair. This was a man with vulnerabilities, with feelings, with insecurities, with frailties, just like anybody.”\u003c/p>\n\u003cp>\u003cem>Aaron Morrison, a native of Oakland, California, is a member of The AP’s Race and Ethnicity team. Follow him on \u003ca href=\"https://www.twitter.com/aaronlmorrison\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "how-the-yoga-industry-is-decentering-whiteness",
"title": "How the Yoga Industry Is Decentering Whiteness",
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"content": "\u003cp>Yoga in the Bay Area has evolved in many ways over the years — from more trendy practices such as \u003ca href=\"https://www.lemosfarm.com/goat-yoga\" target=\"_blank\" rel=\"noopener noreferrer\">goat yoga\u003c/a> and hot yoga, to more well-known forms like vinyasa, often described as a flow-based practice. During the pandemic, yoga studios in the Bay Area and across the country were forced to adapt and change again. In doing so, many began offering classes online and reaching a wider audience than they might have in person.\u003c/p>\n\u003cp>Some say the history of white westerners co-opting yoga as a practice has created an elitist culture within the industry. Yet with the accessibility of online yoga classes, more people have been able to incorporate yoga into their lifestyles and daily rituals. [pullquote size=\"medium\" align=\"right\" citation=\"Heather Haxo Phillips, owner of Adeline Yoga in Berkeley\"]‘Whether it’s injuries or whether it’s body size or whether it’s cultural or ethnicity, race … just the ability to have your camera on or off, the ability to practice at home or wherever you may be … yoga can and should be done by anybody who wants to do it wherever they want to do it.’[/pullquote]\u003c/p>\n\u003cp>Yoga has roots in Hinduism in South Asia and was practiced as a way to unify the mind and body long before reemerging as what is now yoga in the U.S. — a mostly secular form of exercise popularized by a variety of yoga instructors. “Secularizing yoga made us abandon this concept of lineage,” Judith Carlisle, who is Black and a yoga studies instructor at Loyola Marymount University, said. “And at the same time, it legitimized white American and European teachers’ presence as yoga masters, becoming the yoga masters and the spokespeople for yoga.”\u003c/p>\n\u003cp>Heather Haxo Phillips, who is white, is the owner of \u003ca href=\"https://adelineyoga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adeline Yoga\u003c/a> in Berkeley. In the online classes she’s been teaching since the start of the pandemic, she’s noticed an increase in the number of attendees from all over the country.\u003c/p>\n\u003cp>“There are so many people living in communities that don’t have access to high-quality instruction, and we’ve been able to provide that in a much more comprehensive way,” Haxo Phillips said. She said she knows of students who live in remote areas and used to drive for hours to attend in-person weekly classes, but are now able to participate in their homes.\u003c/p>\n\u003cfigure id=\"attachment_11892069\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892069 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Heather-cat-e1634230888817-800x458.png\" alt=\"Woman perched upside-down on a bench with a cat sitting on her bottom.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Heather-cat-e1634230888817-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Heather-cat-e1634230888817-1020x584.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Heather-cat-e1634230888817-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Heather-cat-e1634230888817.png 1029w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Heather Haxo Phillips, owner of Adeline Yoga, teaches a yoga class on Zoom. Her cat Tinker sits on top of her while she demonstrates a pose.\u003c/figcaption>\u003c/figure>\n\u003cp>The simplicity of logging into a session from home has created a new level of comfortability for many students, she said. And that has been an essential factor for welcoming students of color who often do not feel welcome in many western yoga spaces.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Renae Badruzzaman has been a student at Adeline Yoga for three years.\u003c/p>\n\u003cp>“Generally the yoga industry in the United States is pretty white dominated. And as someone who’s been doing yoga for some time, I recognize that,” said Badruzzaman, who is Black. She also recognizes that there are spaces cultivated by practitioners of color.\u003c/p>\n\u003cp>One way Adeline Yoga has reinforced engagement with students of color, like Badruzzaman, is by \u003ca href=\"https://adelineyoga.com/affordable-yoga/\" target=\"_blank\" rel=\"noopener noreferrer\">offering scholarships\u003c/a>. In the Bay Area, as in many parts of the U.S., race and socioeconomic status often overlap.\u003c/p>\n\u003cp>Badruzzaman attends through a scholarship, and because of the studio’s inclusivity, she says she misses in-person classes.\u003c/p>\n\u003cp>“I still miss the community aspect of seeing people and being in community, although it’s not completely not there,” Badruzzaman said. “It may not be as palpable as being in the room, but there’s some of that.”\u003c/p>\n\u003cp>The studio is still operating primarily online, with only two in-person beginner classes a week.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6JqnVCyPWBQ\u003c/p>\n\u003cp>Tejal Patel is a Michigan-based yoga instructor and founder of \u003ca href=\"https://tejalyoga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tejal Yoga\u003c/a>. She also has a podcast called \u003ca href=\"https://www.yogaisdeadpodcast.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yoga Is Dead\u003c/a>, which dives into the colonization of yoga. Patel and co-host Jesal Parikh, who both identify as South Asian American, explore topics of capitalism, diet culture and who is teaching and benefiting from yoga. They break down how the practice evolved in the U.S. into the westernized version of yoga that is seen today.[aside tag=\"yoga\" label=\"More Related Stories\"]“We had experiences with the culture of whiteness, essentially in yoga, showing up and dominating the space,” Patel said, reflecting on when she first began her yoga teacher training. “And also not just dominating the space, but falling into the typical class and race hierarchy, tropes of making power dynamics and racializing our identities in a way that felt really exclusionary and very harmful.”\u003c/p>\n\u003cp>This experience motivated Patel to bring the practice back to its cultural roots by recentering South Asian instructors. And with the flexibility of teaching online, she’s had the opportunity to invite a teacher from India to lead a South Asian LGBTQIA+ practice.\u003c/p>\n\u003cp>“These are things I never really dreamed of,” Patel said. “Because of the devastation of the pandemic, this little seed was able to flourish and grow into what it is now.”\u003c/p>\n\u003cp>Patel plans to continue teaching exclusively online. Her yoga community has expanded over the last few years and half of the instructors at her studio are now based in California — garnering a huge following on the West Coast.\u003c/p>\n\u003cp>With this growth of interest in virtual classes, Judith Carlisle, the yoga studies instructor, points out that these online platforms can help bring more attention to BIPOC instructors, and especially South Asian instructors.\u003c/p>\n\u003cp>“You can almost think of this as a type of digital activism, because by pursuing these things, you make them more available to other people, just like any other market economy,” Carlisle said. “We have to remember that yoga is a product that is commoditized and commercialized within a market economy.”\u003c/p>\n\u003cp>As a result of the pandemic, yoga will continue to exist in a hybrid space — both online and offline. But, regardless of where a class is being held, Haxo Phillips said it’s still possible to cultivate a comfortable atmosphere for all identities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Whether it’s injuries or whether it’s body size or whether it’s cultural or ethnicity, race … just the ability to have your camera on or off, the ability to practice at home or wherever you may be … yoga can and should be done by anybody who wants to do it wherever they want to do it,” she said.\u003c/p>\n\n",
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"title": "How the Yoga Industry Is Decentering Whiteness | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yoga in the Bay Area has evolved in many ways over the years — from more trendy practices such as \u003ca href=\"https://www.lemosfarm.com/goat-yoga\" target=\"_blank\" rel=\"noopener noreferrer\">goat yoga\u003c/a> and hot yoga, to more well-known forms like vinyasa, often described as a flow-based practice. During the pandemic, yoga studios in the Bay Area and across the country were forced to adapt and change again. In doing so, many began offering classes online and reaching a wider audience than they might have in person.\u003c/p>\n\u003cp>Some say the history of white westerners co-opting yoga as a practice has created an elitist culture within the industry. Yet with the accessibility of online yoga classes, more people have been able to incorporate yoga into their lifestyles and daily rituals. \u003c/p>\u003c/div>",
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"content": "‘Whether it’s injuries or whether it’s body size or whether it’s cultural or ethnicity, race … just the ability to have your camera on or off, the ability to practice at home or wherever you may be … yoga can and should be done by anybody who wants to do it wherever they want to do it.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yoga has roots in Hinduism in South Asia and was practiced as a way to unify the mind and body long before reemerging as what is now yoga in the U.S. — a mostly secular form of exercise popularized by a variety of yoga instructors. “Secularizing yoga made us abandon this concept of lineage,” Judith Carlisle, who is Black and a yoga studies instructor at Loyola Marymount University, said. “And at the same time, it legitimized white American and European teachers’ presence as yoga masters, becoming the yoga masters and the spokespeople for yoga.”\u003c/p>\n\u003cp>Heather Haxo Phillips, who is white, is the owner of \u003ca href=\"https://adelineyoga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adeline Yoga\u003c/a> in Berkeley. In the online classes she’s been teaching since the start of the pandemic, she’s noticed an increase in the number of attendees from all over the country.\u003c/p>\n\u003cp>“There are so many people living in communities that don’t have access to high-quality instruction, and we’ve been able to provide that in a much more comprehensive way,” Haxo Phillips said. She said she knows of students who live in remote areas and used to drive for hours to attend in-person weekly classes, but are now able to participate in their homes.\u003c/p>\n\u003cfigure id=\"attachment_11892069\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892069 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Heather-cat-e1634230888817-800x458.png\" alt=\"Woman perched upside-down on a bench with a cat sitting on her bottom.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Heather-cat-e1634230888817-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Heather-cat-e1634230888817-1020x584.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Heather-cat-e1634230888817-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Heather-cat-e1634230888817.png 1029w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Heather Haxo Phillips, owner of Adeline Yoga, teaches a yoga class on Zoom. Her cat Tinker sits on top of her while she demonstrates a pose.\u003c/figcaption>\u003c/figure>\n\u003cp>The simplicity of logging into a session from home has created a new level of comfortability for many students, she said. And that has been an essential factor for welcoming students of color who often do not feel welcome in many western yoga spaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Renae Badruzzaman has been a student at Adeline Yoga for three years.\u003c/p>\n\u003cp>“Generally the yoga industry in the United States is pretty white dominated. And as someone who’s been doing yoga for some time, I recognize that,” said Badruzzaman, who is Black. She also recognizes that there are spaces cultivated by practitioners of color.\u003c/p>\n\u003cp>One way Adeline Yoga has reinforced engagement with students of color, like Badruzzaman, is by \u003ca href=\"https://adelineyoga.com/affordable-yoga/\" target=\"_blank\" rel=\"noopener noreferrer\">offering scholarships\u003c/a>. In the Bay Area, as in many parts of the U.S., race and socioeconomic status often overlap.\u003c/p>\n\u003cp>Badruzzaman attends through a scholarship, and because of the studio’s inclusivity, she says she misses in-person classes.\u003c/p>\n\u003cp>“I still miss the community aspect of seeing people and being in community, although it’s not completely not there,” Badruzzaman said. “It may not be as palpable as being in the room, but there’s some of that.”\u003c/p>\n\u003cp>The studio is still operating primarily online, with only two in-person beginner classes a week.\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/6JqnVCyPWBQ'\n title='//www.youtube.com/embed/6JqnVCyPWBQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tejal Patel is a Michigan-based yoga instructor and founder of \u003ca href=\"https://tejalyoga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tejal Yoga\u003c/a>. She also has a podcast called \u003ca href=\"https://www.yogaisdeadpodcast.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yoga Is Dead\u003c/a>, which dives into the colonization of yoga. Patel and co-host Jesal Parikh, who both identify as South Asian American, explore topics of capitalism, diet culture and who is teaching and benefiting from yoga. They break down how the practice evolved in the U.S. into the westernized version of yoga that is seen today.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We had experiences with the culture of whiteness, essentially in yoga, showing up and dominating the space,” Patel said, reflecting on when she first began her yoga teacher training. “And also not just dominating the space, but falling into the typical class and race hierarchy, tropes of making power dynamics and racializing our identities in a way that felt really exclusionary and very harmful.”\u003c/p>\n\u003cp>This experience motivated Patel to bring the practice back to its cultural roots by recentering South Asian instructors. And with the flexibility of teaching online, she’s had the opportunity to invite a teacher from India to lead a South Asian LGBTQIA+ practice.\u003c/p>\n\u003cp>“These are things I never really dreamed of,” Patel said. “Because of the devastation of the pandemic, this little seed was able to flourish and grow into what it is now.”\u003c/p>\n\u003cp>Patel plans to continue teaching exclusively online. Her yoga community has expanded over the last few years and half of the instructors at her studio are now based in California — garnering a huge following on the West Coast.\u003c/p>\n\u003cp>With this growth of interest in virtual classes, Judith Carlisle, the yoga studies instructor, points out that these online platforms can help bring more attention to BIPOC instructors, and especially South Asian instructors.\u003c/p>\n\u003cp>“You can almost think of this as a type of digital activism, because by pursuing these things, you make them more available to other people, just like any other market economy,” Carlisle said. “We have to remember that yoga is a product that is commoditized and commercialized within a market economy.”\u003c/p>\n\u003cp>As a result of the pandemic, yoga will continue to exist in a hybrid space — both online and offline. But, regardless of where a class is being held, Haxo Phillips said it’s still possible to cultivate a comfortable atmosphere for all identities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "our-origin-story-queen-calafia-returns-to-california-in-new-theatre-production",
"title": "‘Our Origin Story’: Queen Calafia Returns to California in New Theatre Production",
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"headTitle": "‘Our Origin Story’: Queen Calafia Returns to California in New Theatre Production | KQED",
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"content": "\u003cp>\u003cem>Editor’s Note: The audio version of this piece incorrectly identified Sankofa as a Swahili word. Its origins are with the Akan tribe in Ghana.\u003c/em>\u003c/p>\n\u003cp>Earlier this month, a modest crowd gathered at Dunphy Park in Sausalito to witness the return of a mythical head of state. Dressed in yellow and gold and covered in jewels, Queen Calafia stepped off her boat and onto California soil for the first time in hundreds of years.\u003c/p>\n\u003cp>The production, staged on Oct. 3 by the Antenna Theater of San Rafael, sought to showcase the rich story that answers a basic question: Where does California get its name?\u003c/p>\n\u003cp>If you’ve never heard of Queen Calafia, you’re not alone. She was a character in “Las Sergas de Esplandián,” an early 16th-century romantic adventure novel written by Spanish author Garci Rodríguez de Montalvo. In Las Sergas, Calafia was described as a Black warrior queen who ruled the mythical island of California. The island was inhabited only by Black women who lived like amazon warriors. Calafia wore armor made of fish bones, used weapons made of gold and commanded an army of griffins.\u003c/p>\n\u003cfigure id=\"attachment_11892346\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892346 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-800x1199.jpeg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-1020x1528.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n.jpeg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Calafia takes her first step onto California soil in 500 years. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantastical as that might seem, the novel was so popular in Spain that when conquistadors reached the tip of the Baja Peninsula, they thought they’d found the fabled island of California, and named it accordingly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The name stuck, but the memory of Calafia largely faded. She has only appeared in popular culture in fits and starts: in a Diego Rivera fresco at the City Club of San Francisco, in a mural at the InterContinental Mark Hopkins San Francisco hotel and in a Disney California Adventure Park movie, in which she was played by Whoopi Goldberg.\u003c/p>\n\u003cp>Raylene Gorum, who attended the gathering, lives on a houseboat in Sausalito and said she only found out about Calafia a couple of months ago.\u003c/p>\n\u003cp>“I found it really intriguing and I really would like to celebrate this part of California history. I think it’s the right time.” Gorum said.\u003c/p>\n\u003cp>During a moment of racial reckoning in the United States, as racist statues are being removed and schools renamed, many here consider Calafia’s story part of a nationwide movement to re-examine and re-tell our nation’s history. Among them is Dee Nathaniel, the actress playing the queen herself.\u003c/p>\n\u003cfigure id=\"attachment_11892347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892347 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue-800x1199.jpeg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia-Statue-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia-Statue-1020x1528.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia-Statue-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia-Statue-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia-Statue.jpeg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A large doll welcomes the queen. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the past, women of color, especially Black women, haven’t always had the best representation,” she said. “So I think corrective representation is really important because we’re looking at the new generation of Black girls and women of color coming up, and it’s really important for them to see positive role models.”\u003c/p>\n\u003cp>Calafia may be a particularly charismatic role model because there just isn’t anyone like her, says Stacey Triplette, a Spanish professor at the University of Pittsburgh at Greensburg.\u003c/p>\n\u003cp>“Positive representations of Black people in early modern literature are incredibly rare,” she said. “Things like Othello, where it’s a very negative, very stereotyped representation, are so much more common. So this Black, beautiful woman is really unique.”\u003c/p>\n\u003cp>And that’s part of why Nathaniel finds it so exciting to embody Calafia in this production.\u003c/p>\n\u003cp>“We have an issue with erasure, and when something doesn’t fit into the dominant cultural narrative it’s erased. I know that history is written by the winners, but if we want a more inclusive society, we need to reach back into history and restore some of what has been lost,” she said.\u003c/p>\n\u003cp>Calafia also doesn’t conform to the normalized gender roles of her time, Triplette added.\u003c/p>\n\u003cfigure id=\"attachment_11892349\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892349 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song.jpg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Calafia addresses the audience in song. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s not that sort of intellectual framework to talk about what being LGBTQ would be in the medieval and Renaissance period, but you can find a literary character like Calafia who doesn’t conform to what their society’s notion of femininity or masculinity should be,” Triplette said, alluding to Calafia’s profile as a strong leader and warrior.\u003c/p>\n\u003cp>Regardless of what she represents, the Calafia story is essential knowledge for every Californian, argues Chris Hardman, the Antenna Theater’s artistic director.\u003c/p>\n\u003cp>“It’s our origin story. It’s like if you’ve decided not to read Genesis and you were a Christian,” Hardman said.\u003c/p>\n\u003cp>And he thinks that theater is the right medium to bring that story to life.\u003c/p>\n\u003cp>“That’s what the potential of the theater trick is. It brings the history in and puts it right in front of you, and says, ‘It’s live. Deal with it. Get in there, understand this.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11892348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892348 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia_0204-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia_0204-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia_0204-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia_0204-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia_0204.jpg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Calafia leads the procession at Sausalito Dunphy Park. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hardman plans to host more theatrical events that raise awareness about Calafia, including a fantastical archaeological dig for California griffin bones and creating a redesigned California state seal featuring the queen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All these efforts have one goal: to make Queen Calafia a household name in her own kingdom.\u003cbr>\n\u003cem>\u003cbr>\nThanks to Professor Ignacio Navarrete of the UC Berkeley Department of Spanish and Portuguese for reading Las Sergas de Esplandián in this story.\u003c/em>\u003c/p>\n\n",
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"headline": "‘Our Origin Story’: Queen Calafia Returns to California in New Theatre Production",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: The audio version of this piece incorrectly identified Sankofa as a Swahili word. Its origins are with the Akan tribe in Ghana.\u003c/em>\u003c/p>\n\u003cp>Earlier this month, a modest crowd gathered at Dunphy Park in Sausalito to witness the return of a mythical head of state. Dressed in yellow and gold and covered in jewels, Queen Calafia stepped off her boat and onto California soil for the first time in hundreds of years.\u003c/p>\n\u003cp>The production, staged on Oct. 3 by the Antenna Theater of San Rafael, sought to showcase the rich story that answers a basic question: Where does California get its name?\u003c/p>\n\u003cp>If you’ve never heard of Queen Calafia, you’re not alone. She was a character in “Las Sergas de Esplandián,” an early 16th-century romantic adventure novel written by Spanish author Garci Rodríguez de Montalvo. In Las Sergas, Calafia was described as a Black warrior queen who ruled the mythical island of California. The island was inhabited only by Black women who lived like amazon warriors. Calafia wore armor made of fish bones, used weapons made of gold and commanded an army of griffins.\u003c/p>\n\u003cfigure id=\"attachment_11892346\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892346 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-800x1199.jpeg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-1020x1528.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/244407173_4658589550847294_1358331450639600664_n.jpeg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Calafia takes her first step onto California soil in 500 years. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantastical as that might seem, the novel was so popular in Spain that when conquistadors reached the tip of the Baja Peninsula, they thought they’d found the fabled island of California, and named it accordingly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The name stuck, but the memory of Calafia largely faded. She has only appeared in popular culture in fits and starts: in a Diego Rivera fresco at the City Club of San Francisco, in a mural at the InterContinental Mark Hopkins San Francisco hotel and in a Disney California Adventure Park movie, in which she was played by Whoopi Goldberg.\u003c/p>\n\u003cp>Raylene Gorum, who attended the gathering, lives on a houseboat in Sausalito and said she only found out about Calafia a couple of months ago.\u003c/p>\n\u003cp>“I found it really intriguing and I really would like to celebrate this part of California history. I think it’s the right time.” Gorum said.\u003c/p>\n\u003cp>During a moment of racial reckoning in the United States, as racist statues are being removed and schools renamed, many here consider Calafia’s story part of a nationwide movement to re-examine and re-tell our nation’s history. Among them is Dee Nathaniel, the actress playing the queen herself.\u003c/p>\n\u003cfigure id=\"attachment_11892347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892347 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia-Statue-800x1199.jpeg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia-Statue-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia-Statue-1020x1528.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia-Statue-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia-Statue-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia-Statue.jpeg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A large doll welcomes the queen. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the past, women of color, especially Black women, haven’t always had the best representation,” she said. “So I think corrective representation is really important because we’re looking at the new generation of Black girls and women of color coming up, and it’s really important for them to see positive role models.”\u003c/p>\n\u003cp>Calafia may be a particularly charismatic role model because there just isn’t anyone like her, says Stacey Triplette, a Spanish professor at the University of Pittsburgh at Greensburg.\u003c/p>\n\u003cp>“Positive representations of Black people in early modern literature are incredibly rare,” she said. “Things like Othello, where it’s a very negative, very stereotyped representation, are so much more common. So this Black, beautiful woman is really unique.”\u003c/p>\n\u003cp>And that’s part of why Nathaniel finds it so exciting to embody Calafia in this production.\u003c/p>\n\u003cp>“We have an issue with erasure, and when something doesn’t fit into the dominant cultural narrative it’s erased. I know that history is written by the winners, but if we want a more inclusive society, we need to reach back into history and restore some of what has been lost,” she said.\u003c/p>\n\u003cp>Calafia also doesn’t conform to the normalized gender roles of her time, Triplette added.\u003c/p>\n\u003cfigure id=\"attachment_11892349\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892349 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Queen-Calafia-adresses-the-crowd-in-song.jpg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Calafia addresses the audience in song. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s not that sort of intellectual framework to talk about what being LGBTQ would be in the medieval and Renaissance period, but you can find a literary character like Calafia who doesn’t conform to what their society’s notion of femininity or masculinity should be,” Triplette said, alluding to Calafia’s profile as a strong leader and warrior.\u003c/p>\n\u003cp>Regardless of what she represents, the Calafia story is essential knowledge for every Californian, argues Chris Hardman, the Antenna Theater’s artistic director.\u003c/p>\n\u003cp>“It’s our origin story. It’s like if you’ve decided not to read Genesis and you were a Christian,” Hardman said.\u003c/p>\n\u003cp>And he thinks that theater is the right medium to bring that story to life.\u003c/p>\n\u003cp>“That’s what the potential of the theater trick is. It brings the history in and puts it right in front of you, and says, ‘It’s live. Deal with it. Get in there, understand this.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11892348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892348 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Calafia_0204-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia_0204-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia_0204-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia_0204-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia_0204-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/Calafia_0204.jpg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Calafia leads the procession at Sausalito Dunphy Park. \u003ccite>(Herman Privette of Photography By Privette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hardman plans to host more theatrical events that raise awareness about Calafia, including a fantastical archaeological dig for California griffin bones and creating a redesigned California state seal featuring the queen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All these efforts have one goal: to make Queen Calafia a household name in her own kingdom.\u003cbr>\n\u003cem>\u003cbr>\nThanks to Professor Ignacio Navarrete of the UC Berkeley Department of Spanish and Portuguese for reading Las Sergas de Esplandián in this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "hiding-in-plain-sight-the-dragon-sitting-on-top-of-s-fs-broadway-tunnel",
"title": "Hiding In Plain Sight: The Dragon Sitting on Top of SF’s Broadway Tunnel",
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"content": "\u003cp>Stretching 56 feet across the Chinatown side of the Broadway Tunnel is a bronze and brass sculpture of a dragon, silently towering over the cars rumbling below. It’s been poised there — a stoic sort of guardian — since 1970. Bay Curious listener Sandi Sewell asked us to find out more about how it got there.\u003c/p>\n\u003cp>The dragon was designed by San Francisco-born artist Patti Bowler, and lovingly constructed by Santa Rosa metal worker Wade Lux. Sandi, our question asker, grew up with the Lux family and recently found out about the commission from some old photos. She was charmed to learn her old friend had a hand in making such a prestigious piece of art.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>The San Francisco Arts Commission says the imposing piece was one of the first public artworks to result from the city’s Art Enrichment Ordinance. The 1969 ordinance required every civic construction project in the city to dedicate two per cent of its budget to a piece of public art.\u003c/p>\n\u003cp>When the city approved the Chinatown Public Health Center to sit above the Broadway tunnel, architect Clarence Mayhew nominated Bowler to design the accompanying $27,500 artwork. (Mayhew’s judgment in such matters was trusted, thanks in part to his seat on the board of the SFMOMA.) The piece would be titled simply, “Dragon Relief.”\u003c/p>\n\u003cfigure id=\"attachment_11891330\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11891330\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/BroadwayDragon2-JohnnyDismal.jpg\" alt=\"The sun shines out from behind a large building with a dragon relief on it.\" width=\"1454\" height=\"1938\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/BroadwayDragon2-JohnnyDismal.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/BroadwayDragon2-JohnnyDismal-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/BroadwayDragon2-JohnnyDismal-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/BroadwayDragon2-JohnnyDismal-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/BroadwayDragon2-JohnnyDismal-1152x1536.jpg 1152w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">A dragon relief guards the Broadway tunnel and Chinatown Public Health Center that sits above. \u003ccite>(Courtesy Johnny Dismal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At that time, Bowler was a fashionable and forward-thinking mixed media artist and designer, whose most talked about pieces were created using a new kind of paint she had invented. Bowler manipulated her special combination of polyester resin and dry pigments using brushes and bamboo. The end results were three-dimensional, multi-colored and abstract works that were on regular display in galleries around the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[emailsignup newslettername=\"baycurious\" align=\"right\"]\u003c/p>\n\u003cp>In 1961, the San Francisco Examiner wrote that Bowler’s “striking designs” were “unusually dynamic, lucid and handsome.” Pennsylvania’s Republican and Herald newspaper once described Bowler as an “exceptionally talented artist … that seems to thrive on hard work.” Bowler had experience working on large-scale murals and construction projects too, so the size of the dragon wasn’t a source of intimidation. After she had finalized the design, it was up to Lux — a self-described “tin-bender” — to build something that would last, scales and all.\u003c/p>\n\u003cp>There is, however, a small twist in this tale—Bowler’s design might never have graced the tunnel if not for a dash of nepotism. It turns out that Clarence Mayhew — the architect who chose Bowler to helm the project — was both a friend and former employer of Bowler’s architect husband, J. Carson Bowler. Mayhew gave Mr. Bowler his first major architecture job, just two years after the Bowlers were married. By awarding the “Dragon Relief” commission to Patti Bowler, he offered his protégé’s wife a hand into the big leagues as well.\u003c/p>\n\u003cp>Regardless of how it ended up there, Bowler and Lux’s dragon continues to guard the Robert C. Levy tunnel today, beneath the tall windows of the health center. And while their creation has outlived them both, it remains a testament to Patti Bowler’s artistic vision and Wade Lux’s impeccable metal skills. It also, rather helpfully, serves as a symbol of strength and luck for all of the patients being treated above.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n",
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"excerpt": "It's easy to miss the large abstract metal sculpture of a dragon that hangs on the Chinatown Public Health Center building above the Broadway tunnel. But it's worth a closer look.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stretching 56 feet across the Chinatown side of the Broadway Tunnel is a bronze and brass sculpture of a dragon, silently towering over the cars rumbling below. It’s been poised there — a stoic sort of guardian — since 1970. Bay Curious listener Sandi Sewell asked us to find out more about how it got there.\u003c/p>\n\u003cp>The dragon was designed by San Francisco-born artist Patti Bowler, and lovingly constructed by Santa Rosa metal worker Wade Lux. Sandi, our question asker, grew up with the Lux family and recently found out about the commission from some old photos. She was charmed to learn her old friend had a hand in making such a prestigious piece of art.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The San Francisco Arts Commission says the imposing piece was one of the first public artworks to result from the city’s Art Enrichment Ordinance. The 1969 ordinance required every civic construction project in the city to dedicate two per cent of its budget to a piece of public art.\u003c/p>\n\u003cp>When the city approved the Chinatown Public Health Center to sit above the Broadway tunnel, architect Clarence Mayhew nominated Bowler to design the accompanying $27,500 artwork. (Mayhew’s judgment in such matters was trusted, thanks in part to his seat on the board of the SFMOMA.) The piece would be titled simply, “Dragon Relief.”\u003c/p>\n\u003cfigure id=\"attachment_11891330\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11891330\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/BroadwayDragon2-JohnnyDismal.jpg\" alt=\"The sun shines out from behind a large building with a dragon relief on it.\" width=\"1454\" height=\"1938\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/BroadwayDragon2-JohnnyDismal.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/BroadwayDragon2-JohnnyDismal-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/BroadwayDragon2-JohnnyDismal-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/BroadwayDragon2-JohnnyDismal-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/BroadwayDragon2-JohnnyDismal-1152x1536.jpg 1152w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">A dragon relief guards the Broadway tunnel and Chinatown Public Health Center that sits above. \u003ccite>(Courtesy Johnny Dismal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At that time, Bowler was a fashionable and forward-thinking mixed media artist and designer, whose most talked about pieces were created using a new kind of paint she had invented. Bowler manipulated her special combination of polyester resin and dry pigments using brushes and bamboo. The end results were three-dimensional, multi-colored and abstract works that were on regular display in galleries around the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1961, the San Francisco Examiner wrote that Bowler’s “striking designs” were “unusually dynamic, lucid and handsome.” Pennsylvania’s Republican and Herald newspaper once described Bowler as an “exceptionally talented artist … that seems to thrive on hard work.” Bowler had experience working on large-scale murals and construction projects too, so the size of the dragon wasn’t a source of intimidation. After she had finalized the design, it was up to Lux — a self-described “tin-bender” — to build something that would last, scales and all.\u003c/p>\n\u003cp>There is, however, a small twist in this tale—Bowler’s design might never have graced the tunnel if not for a dash of nepotism. It turns out that Clarence Mayhew — the architect who chose Bowler to helm the project — was both a friend and former employer of Bowler’s architect husband, J. Carson Bowler. Mayhew gave Mr. Bowler his first major architecture job, just two years after the Bowlers were married. By awarding the “Dragon Relief” commission to Patti Bowler, he offered his protégé’s wife a hand into the big leagues as well.\u003c/p>\n\u003cp>Regardless of how it ended up there, Bowler and Lux’s dragon continues to guard the Robert C. Levy tunnel today, beneath the tall windows of the health center. And while their creation has outlived them both, it remains a testament to Patti Bowler’s artistic vision and Wade Lux’s impeccable metal skills. It also, rather helpfully, serves as a symbol of strength and luck for all of the patients being treated above.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Every month, about 4 million trips are made across the San Francisco Bay Bridge — making it the busiest bridge in the Bay Area.\u003c/p>\n\u003cp>It’s a beautiful bridge with sweeping views, but driving across it can be harrowing. All those drivers, rushing to their busy lives. It can get a little dicey out there! So you might be relieved to hear this bridge has a secret guardian lurking under the eastern span, keeping us all safe: the Bay Bridge troll.\u003c/p>\n\u003cp>There have been a few trolls on the bridge over the years, but the legend of the first Bay Bridge troll begins in 1989.\u003c/p>\n\u003cp>The Loma Prieta earthquake — a magnitude 6.9 on the Richter scale — collapsed a large section of the upper deck of the Bay Bridge, “and honestly, if the earthquake would have continued for a few more seconds, the entire Eastern span would have collapsed,” said Bart Ney of Caltrans.\u003c/p>\n\u003cp>The repair work was done in about a month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The contractors and the state were working together out there around the clock, seven days a week,” said Ney. Crews on the bridge worked to install steel pieces fabricated, in part, at a shop in Oakland.\u003c/p>\n\u003cp>Workers from the Oakland shop contacted a local blacksmith and artist named Bill Roan with an idea — to build a gargoyle to protect the repaired bridge section.\u003c/p>\n\u003cp>Roan did his research and found that gargoyles are not typically bridge guardians, so he proposed something a little more useful.\u003c/p>\n\u003ch2>The troll is born\u003c/h2>\n\u003cblockquote>\u003cp>\u003cem>“Who’s that tripping over my bridge?” roared the troll … “Now, I’m coming to gobble you up.” — from “The Three Billy Goats Gruff”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>The connection between trolls and bridges reaches back to the Norwegian fairy tale “The Three Billy Goats Gruff,” published in the 1840s. The tale finds three billy goats trying to cross a bridge under which lives a scary troll. The three goats outsmart the troll to pass. The story was translated into English in the 1850s, and since then, trolls and bridges became inextricably linked in pop culture. As for what a troll actually looks like or does, that changes from culture to culture, bridge to bridge.\u003c/p>\n\u003cp>Roan decided a troll was what the repaired Bay Bridge needed to ward off evil spirits — seismic or supernatural. The result, said Ney, was, “particularly special. It was crafted out of a piece of metal that was from the [collapsed] bridge. Bill said he was trying to make a particularly fierce troll.”\u003c/p>\n\u003cp>Ney said the troll has webbed feet and hands, for swimming. He’s holding “a giant wrench welded into a bolt. And, he has a really long tongue, I mean his tongue is almost as long as half of his body.”\u003c/p>\n\u003cp>One night, under the cover of darkness, “[the troll] was placed on the bridge segment, facing the outside so no one else would really see it,” said Ney. After the retrofit was completed, the troll stayed on the bridge.\u003c/p>\n\u003cp>“Ultimately (the troll) did a good job out there for 24 years because we had no further, bigger earthquakes that impacted the structure,” said Ney.\u003c/p>\n\u003cp>When Caltrans began construction on the new eastern span of the San Francisco-Oakland Bay Bridge in 2002, the troll’s artist, Bill Roan, offered to make a new troll for the new bridge. Ney said they turned him down: “You can’t bring that sort of thing in the front door! This is where we talk about science and technology. That’s magic. The original troll came to Caltrans, we didn’t ask for him, and a new troll would need to be of the same ilk.”\u003c/p>\n\u003cp>No formal plans were made for a new troll. In fact, Caltrans’s official policy was “benign noninterference.” But when the new eastern span opened in 2013, a new, slightly taller troll was unveiled one night. Perched high atop a pier, the 2-foot troll is made of solid steel. He’s got a beard and tools in his hands.\u003c/p>\n\u003ch2>Finding the troll\u003c/h2>\n\u003cp>https://twitter.com/realchrisjbeale/status/1448421406631292928?t=Ud8Cy-cZn2nY-479Mp0V_g&s=19\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11892166\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892166 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734-800x600.jpeg\" alt=\"A view of painted white iron beams, with one metal figurine of a troll on a lower level in shadow, and a white-painted one in the light.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121734-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121734-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121734-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121734-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121734.jpeg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When searching for the Bay Bridge troll, you’ll find that there are at least two on the bridge. The lower troll is considered “the” troll. \u003ccite>(Christopher Beale/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Head out onto the \u003ca href=\"https://511.org/biking/bay-bridge-trail\">Bay Bridge Trail\u003c/a>, a few miles in, \u003ca href=\"https://maps.app.goo.gl/WSghR5uRTkX3w5rn8\">where the cable connects to the bridge deck\u003c/a>, look down under the roadway, and you’ll spot the modern Bay Bridge troll in the shadows, spinning magic to this day.\u003c/p>\n\u003cfigure id=\"attachment_11892167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892167 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724-800x600.jpeg\" alt=\"An angular dark metal figurine with legs and arms, holding tools, its feet affixed to the cement below it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121724-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121724-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121724-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121724-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121724.jpeg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The troll is always in shadow. Apparently trolls don’t like the sun. \u003ccite>(Christopher Beale/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original troll, from the old bridge, now lives in retirement at the Caltrans office in Oakland, where Ney said the troll never allows himself to be forgotten.\u003c/p>\n\u003cp>“I’ll be dead and gone and people will still be talking about the troll,” Ney said. “Every time I get off the elevator and I see him there, I just have to give him a wink. I never miss him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’d like to visit the original troll, visit him at the Caltrans office at 111 Grand Ave. in Oakland, California.\u003c/p>\n\u003cfigure id=\"attachment_11892168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892168 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400-800x600.jpeg\" alt=\"A smiling man in a black jacket and black pants poses in front of a glass case that hold a metal figurine of a fairly human-looking troll.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210930_095400-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210930_095400-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210930_095400-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210930_095400-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210930_095400.jpeg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talking about the troll can be a bit of an annoyance for Bart Ney, the chief of public affairs at Caltrans District 4. But he admits that he gives the troll a wink every time he gets off the elevator. \u003ccite>(Christopher Beale/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every month, about 4 million trips are made across the San Francisco Bay Bridge — making it the busiest bridge in the Bay Area.\u003c/p>\n\u003cp>It’s a beautiful bridge with sweeping views, but driving across it can be harrowing. All those drivers, rushing to their busy lives. It can get a little dicey out there! So you might be relieved to hear this bridge has a secret guardian lurking under the eastern span, keeping us all safe: the Bay Bridge troll.\u003c/p>\n\u003cp>There have been a few trolls on the bridge over the years, but the legend of the first Bay Bridge troll begins in 1989.\u003c/p>\n\u003cp>The Loma Prieta earthquake — a magnitude 6.9 on the Richter scale — collapsed a large section of the upper deck of the Bay Bridge, “and honestly, if the earthquake would have continued for a few more seconds, the entire Eastern span would have collapsed,” said Bart Ney of Caltrans.\u003c/p>\n\u003cp>The repair work was done in about a month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The contractors and the state were working together out there around the clock, seven days a week,” said Ney. Crews on the bridge worked to install steel pieces fabricated, in part, at a shop in Oakland.\u003c/p>\n\u003cp>Workers from the Oakland shop contacted a local blacksmith and artist named Bill Roan with an idea — to build a gargoyle to protect the repaired bridge section.\u003c/p>\n\u003cp>Roan did his research and found that gargoyles are not typically bridge guardians, so he proposed something a little more useful.\u003c/p>\n\u003ch2>The troll is born\u003c/h2>\n\u003cblockquote>\u003cp>\u003cem>“Who’s that tripping over my bridge?” roared the troll … “Now, I’m coming to gobble you up.” — from “The Three Billy Goats Gruff”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>The connection between trolls and bridges reaches back to the Norwegian fairy tale “The Three Billy Goats Gruff,” published in the 1840s. The tale finds three billy goats trying to cross a bridge under which lives a scary troll. The three goats outsmart the troll to pass. The story was translated into English in the 1850s, and since then, trolls and bridges became inextricably linked in pop culture. As for what a troll actually looks like or does, that changes from culture to culture, bridge to bridge.\u003c/p>\n\u003cp>Roan decided a troll was what the repaired Bay Bridge needed to ward off evil spirits — seismic or supernatural. The result, said Ney, was, “particularly special. It was crafted out of a piece of metal that was from the [collapsed] bridge. Bill said he was trying to make a particularly fierce troll.”\u003c/p>\n\u003cp>Ney said the troll has webbed feet and hands, for swimming. He’s holding “a giant wrench welded into a bolt. And, he has a really long tongue, I mean his tongue is almost as long as half of his body.”\u003c/p>\n\u003cp>One night, under the cover of darkness, “[the troll] was placed on the bridge segment, facing the outside so no one else would really see it,” said Ney. After the retrofit was completed, the troll stayed on the bridge.\u003c/p>\n\u003cp>“Ultimately (the troll) did a good job out there for 24 years because we had no further, bigger earthquakes that impacted the structure,” said Ney.\u003c/p>\n\u003cp>When Caltrans began construction on the new eastern span of the San Francisco-Oakland Bay Bridge in 2002, the troll’s artist, Bill Roan, offered to make a new troll for the new bridge. Ney said they turned him down: “You can’t bring that sort of thing in the front door! This is where we talk about science and technology. That’s magic. The original troll came to Caltrans, we didn’t ask for him, and a new troll would need to be of the same ilk.”\u003c/p>\n\u003cp>No formal plans were made for a new troll. In fact, Caltrans’s official policy was “benign noninterference.” But when the new eastern span opened in 2013, a new, slightly taller troll was unveiled one night. Perched high atop a pier, the 2-foot troll is made of solid steel. He’s got a beard and tools in his hands.\u003c/p>\n\u003ch2>Finding the troll\u003c/h2>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11892166\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892166 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121734-800x600.jpeg\" alt=\"A view of painted white iron beams, with one metal figurine of a troll on a lower level in shadow, and a white-painted one in the light.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121734-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121734-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121734-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121734-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121734.jpeg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When searching for the Bay Bridge troll, you’ll find that there are at least two on the bridge. The lower troll is considered “the” troll. \u003ccite>(Christopher Beale/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Head out onto the \u003ca href=\"https://511.org/biking/bay-bridge-trail\">Bay Bridge Trail\u003c/a>, a few miles in, \u003ca href=\"https://maps.app.goo.gl/WSghR5uRTkX3w5rn8\">where the cable connects to the bridge deck\u003c/a>, look down under the roadway, and you’ll spot the modern Bay Bridge troll in the shadows, spinning magic to this day.\u003c/p>\n\u003cfigure id=\"attachment_11892167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892167 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210929_121724-800x600.jpeg\" alt=\"An angular dark metal figurine with legs and arms, holding tools, its feet affixed to the cement below it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121724-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121724-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121724-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121724-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210929_121724.jpeg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The troll is always in shadow. Apparently trolls don’t like the sun. \u003ccite>(Christopher Beale/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original troll, from the old bridge, now lives in retirement at the Caltrans office in Oakland, where Ney said the troll never allows himself to be forgotten.\u003c/p>\n\u003cp>“I’ll be dead and gone and people will still be talking about the troll,” Ney said. “Every time I get off the elevator and I see him there, I just have to give him a wink. I never miss him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’d like to visit the original troll, visit him at the Caltrans office at 111 Grand Ave. in Oakland, California.\u003c/p>\n\u003cfigure id=\"attachment_11892168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11892168 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/20210930_095400-800x600.jpeg\" alt=\"A smiling man in a black jacket and black pants poses in front of a glass case that hold a metal figurine of a fairly human-looking troll.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210930_095400-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210930_095400-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210930_095400-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210930_095400-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/10/20210930_095400.jpeg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talking about the troll can be a bit of an annoyance for Bart Ney, the chief of public affairs at Caltrans District 4. But he admits that he gives the troll a wink every time he gets off the elevator. \u003ccite>(Christopher Beale/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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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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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"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. ",
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"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. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"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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},
"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": {
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"source": "American Public Media"
},
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"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"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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