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"content": "\u003cp>In celebration of Juneteenth this year, \u003ca href=\"https://westoaklandmuralproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The West Oakland Mural Project\u003c/a> opened a small museum to highlight Black Panther Party history.\u003c/p>\n\u003cp>“It’s going to stay here for as long as I am able to sustain it,” said Jilchristina Vest, the visionary and owner of the house and museum, on what she’s calling a “mini museum.”\u003c/p>\n\u003cp>KQED’s Kate Wolffe spoke with Vest about what she hopes to share with the community, the significance of the location and what it means to open this weekend.\u003c/p>\n\u003cfigure id=\"attachment_11878702\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11878702\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/Image-from-iOS-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/Image-from-iOS-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/Image-from-iOS-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/Image-from-iOS-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/Image-from-iOS-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/Image-from-iOS-2.jpg 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abené (left) and Julian Rucker look at displays in the Black Panther Mini Museum in Oakland on June 19, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The following interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>What can people find inside the mini museum?\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Jilchristina Vest:\u003c/strong> The mini museum is a combination of several 8-foot banners that have a lot of beautiful photographs and a lot of really amazing information on them. There’s a lot of news articles — and information to take away, things you’ve never seen. A lot of it has been educational material that \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener noreferrer\">Ericka Huggins\u003c/a> has used in classrooms, as well as museum exhibits and pop ups.\u003cbr>\n[pullquote size=\"medium\" align=\"right\" citation=\"Jilchristina Vest\"]‘Oakland should be nothing but unabashedly proud that they are the birthplace of, in my opinion, the most dynamic group of humanitarians that ever gathered in one place at any point in history.’[/pullquote]\u003c/p>\n\u003cp>The items in the museum belong to Lisbet Tellefsen, who has curated other exhibits. These items have never been displayed all at the same time.\u003c/p>\n\u003cp>You really get to dive deep and learn about the Panthers taking elders to the grocery store, and making sure that people had their sugar checked and their blood pressure checked. It’s very in-depth and it’s very concentrated on 60 survival programs — giving people what they need.\u003c/p>\n\u003cp>What I have experienced so far, of people leaving the museum, is people walk away lighter and happier, joyful, taller and feeling proud and grateful to have this information in their brain. [ad fullwidth]\u003c/p>\n\u003ch3>\u003cstrong>Can you describe the history of this street and the legacy of the Black Panther Party here?\u003c/strong>\u003c/h3>\n\u003cp>I bought my house in 2000 and I purchased a house here in West Oakland because of the Black Panther legacy, and how it’s attached to West Oakland. About five years after I moved in, I realized that the house is across the street from where Huey P. Newton was killed in 1989. I did not know that when I bought the house.\u003c/p>\n\u003cp>It just became even more profound because of the Black Panther Party. Most recently, on Feb. 17, on Huey P. Newton’s birthday, they renamed Ninth Street Dr. Huey P. Newton Way. Coming up in October, they’re going to be installing a bust from the Huey P. Newton Foundation.\u003c/p>\n\u003cp>Now the mural is sitting on Huey P. Newton Way, which wasn’t the case when the mural was born last summer — everything really seems to be falling in place beautifully.\u003c/p>\n\u003cp>What I think is so important is there’s a large group of people that know a fuller story of who the Black Panther Party was. A majority of Americans have been fed misinformation and a very biased and negative story of who the Black Panther Party was. It’s very, very important to me to teach and educate people who they really were and this museum and the mural makes it very obvious.\u003c/p>\n\u003ch3>Can you talk a bit about preserving the legacy of the Black Panther Party?\u003c/h3>\n\u003cp>I think that there’s a movement right now, specifically in Oakland, and I hope that I am a part of that spark. I definitely want to be a part of the movement to ask Oakland to stand up and start behaving as if they are proud of this legacy. [aside postID=news_11873838,news_11858928]\u003c/p>\n\u003cp>Oakland should be nothing but unabashedly proud that they are the birthplace of, in my opinion, the most dynamic group of humanitarians that ever gathered in one place at any point in history. Oakland gave birth to that.\u003c/p>\n\u003cp>There’s a lot of Black Panthers still in the Bay Area that want to participate in that. Nobody’s trying to hide any part of the history — we’re trying to complete the story. 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"slug": "little-manila-perseveres-how-filipinx-leaders-in-stockton-are-organizing-for-the-next-generation",
"title": "Little Manila Perseveres: How Filipinx Leaders in Stockton Are Organizing for the Next Generation",
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"content": "\u003cp>On El Dorado Street in Stockton, only two buildings exist from the city’s original Little Manila neighborhood, though it was once home to the largest Filipino population outside of Manila itself.\u003c/p>\n\u003cp>Stockton was at the epicenter of Filipino migration in the 1920s, but as a queer and gender non-binary person who grew up in the city generations later, Donald Donaire did not feel supported by the Filipinx community.\u003c/p>\n\u003cp>“There was this culture that a lot of young people faced — a lot of my friends faced — that if we wanted to live happy lives, successful lives, we had to study and leave Stockton,” Donaire said.\u003c/p>\n\u003cp>Only when Donaire left Stockton in 2011 and studied at UC San Diego did they learn about the strong legacy of Filipino organizing and activism in their hometown. Now Donaire is one of several Filipinx people who have returned to Stockton as part of a new generation of leaders in the city working to reclaim their history.\u003c/p>\n\u003cp>“I think we’re definitely building on that legacy here, and really trying to make it more robust and inclusive to be responsive to the pandemic and movements that are happening at the same time for racial justice,” said Donaire.\u003c/p>\n\u003cfigure id=\"attachment_11687514\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11687514\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-800x488.jpg\" alt=\"\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-1200x733.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-520x317.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The northern end of Little Manila in Stockton, at El Dorado and Washington streets, in the late 1920s. \u003ccite>(Photo: Frank Mancao. Courtesy of the Filipino American National Historic Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>The Pioneers of Little Manila in Stockton\u003c/b>\u003c/h3>\n\u003cp>The history of Filipinos in Stockton dates back a century. After the Philippine-American War, a large influx of Filipino men came to California during the 1920s and ’30s to perform cheap labor — in the Central Valley that was mostly farming. Many Filipinos settled in Stockton, and in time built businesses, fraternities, churches and community spaces on El Dorado Street, which became known as Little Manila.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Leatrice Bantillo Perez is a part of the Manang/Manong Generation that pioneered the early days of Little Manila. Filipinx people use manang/manong to show respect to elders, meaning an older sibling, aunt or uncle. At 92 years old, Perez — known as Manang Letty — lived through the establishment of Filipino businesses and culture, while working in farm labor, and eventually serving as the president of the \u003ca href=\"http://fanhsstockton.com/home\">Filipino American National Historical Society\u003c/a> chapter in Stockton.\u003c/p>\n\u003cp>The majority of Filipinos in Stockton during the first wave of migration were bachelors in their 20s. They weren’t allowed to own property or marry white women, and they couldn’t live in certain neighborhoods due to racist housing policies like redlining. Because of this discrimination, Perez remembers that her mother always made time to check in with the young men of the community.\u003c/p>\n\u003cfigure id=\"attachment_109456\" class=\"wp-caption aligncenter\" style=\"max-width: 410px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-109456\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2013/09/Little-Manila-3.jpeg\" alt=\"\" width=\"410\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Filipinos dressed up for photos headed back home in order to send the message ‘Doing well here in California!’ \u003ccite>(Courtesy of the Filipino American National Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As we walked down the street, ‘Hello, hello, kamusta kayo?’ You know, very friendly,” Perez said. “And the men felt good because at least somebody recognized them as a human being.”\u003c/p>\n\u003cp>There were also very few Filipina women or families. By some counts, there were \u003ca href=\"https://www.littlemanila.org/more-than-history\">more than a dozen men to each woman\u003c/a> during the early years of Little Manila, and Perez said a young woman was lucky if she had 20 suitors. Some suitors, she remembers, would offer to take the whole family to the movies, but Perez’s mother would step in and offer Perez as a chaperone instead.\u003c/p>\n\u003cp>“My mother would go, ‘Kawawa niman, he is making so little money and he has to pay for the whole family,’ ” Perez said.\u003c/p>\n\u003cp>Perez and her community were pioneers of a new Filipino American identity — at the same time they banded together and organized efforts to fight for labor rights. In 1939, laborers who picked asparagus went on strike for three days against unfair wage reduction. This is now known as the Good Friday Asparagus Strike.\u003c/p>\n\u003cp>“Not one Filipino went out to the asparagus fields,” Perez said. “About 7,000 Filipinos did not go into the field.”\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Donald Donaire, Little Manila After School Program\"]‘I didn’t know that there was something so deep here in the city that I grew up in or that I call my hometown.’[/pullquote]\u003c/p>\n\u003cp>The asparagus workers formed a union called the Filipino Agricultural Labor Association, or FALA, to protest their pay cut. Since they worked and lived in company camps on the farms, the striking workers had no place to stay and no food to eat.\u003c/p>\n\u003cp>“The union and the Filipino community got together and asked the women of the community to do the cooking,” said Perez. “My mother cooked big kettles of chicken stew and some of the men would come and sit on our porch and eat there.”\u003c/p>\n\u003cp>From the 1930s through the 1950s, the Filipino community in Stockton continued to organize for workers’ rights, fighting for fair wages and safer working conditions. The organizing work didn’t stop even once Filipinos were granted citizenship after World War II, allowing those who fought in the war to own businesses and property and bring wives over from the Philippines.\u003c/p>\n\u003ch3>\u003cb>The Filipinx Force Behind the Farm Labor Movement\u003c/b>\u003c/h3>\n\u003cp>As Little Manila began to flourish with independent, family-owned businesses and community spaces, the landscape of agricultural work began to change; a large influx of Latinx farm laborers came to the Central Valley. The workers began to form their own unions and organizing bodies and banded together with the Filipinos to bolster their strength in numbers.\u003c/p>\n\u003cp>But the Filipino influence is often overlooked.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9465054694&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Many people know about the organizing of the\u003ca href=\"https://ufw.org/\"> United Farm Workers\u003c/a>, and the National Farm Workers Association. They know about Cesar Chavez or Dolores Huerta. But one of the most famous agricultural worker strikes, the 1965 \u003ca href=\"https://ufw.org/1965-1970-delano-grape-strike-boycott/\">Delano Grape Strike\u003c/a> in California, was started by Filipino organizers and spearheaded by Larry Itliong, who characterized himself as a “son of a bitch” when it came to fighting for agricultural workers’ rights.\u003c/p>\n\u003cp>“I did not learn about Larry Itliong or what was going on here in my place of growing up until I got to college at Long Beach State,” said Gayle Romasanta, a writer, educator and publisher who grew up in Stockton.\u003c/p>\n\u003cp>When Romasanta’s daughter received a school assignment to write about a figure in history, she realized there was a huge gap in education — there were no children’s books on Larry Itliong.\u003c/p>\n\u003cp>“I thought, my God, don’t tell me I have to write it myself!” Romasanta said.\u003c/p>\n\u003cp>She partnered with historian and author Dr. Dawn Bohulano Mabalon, who wrote one of the few historical books that exists on Stockton’s Little Manila called “\u003ca href=\"https://www.dukeupress.edu/little-manila-is-in-the-heart\">Little Manila Is in the Heart: The Making of the Filipina/o American Community in Stockton, California\u003c/a>.” Together they wrote the children’s book “\u003ca href=\"https://www.bridgedelta.com/purchase/journey-for-justice-the-life-of-larry-itliong\">Journey to Justice: The Life of Larry Itliong\u003c/a>.” A copy of the book, illustrated by Andre Sibayan, was donated to every school in Stockton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Journey for Justice: The Life of Larry Itliong Read Aloud\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/jTl17BnAaPk?start=256&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Romasanta said that there need to be more Filipinx historians and more people committed to sharing the history of Larry Itliong and the Filipinx people within the farm labor movement.\u003c/p>\n\u003cp>“We have to understand that Filipinos had decades worth of experience going on strike, and demanding for the living wage and working conditions,” Romasanta said. “Once we get to understand that … then we understand that we can continue that fight and it’s not recreating the wheel.”\u003c/p>\n\u003ch3>\u003cb>The Organizers Against Urban Renewal in Little Manila\u003c/b>\u003c/h3>\n\u003cp>Despite having spent decades building up Little Manila, Stockton’s local government enacted urban renewal policies that drastically changed the neighborhood from the 1960s to the 1980s. Businesses were shuttered and buildings knocked down to make space for a cross-town freeway.\u003c/p>\n\u003cp>[aside postID=\"news_11872593\" label=\"More on Little Manila\"]\u003c/p>\n\u003cp>The city’s Filipino community was changing, too. Many of the people who worked in the fields were growing older and the new Filipinx immigrants were professionals and skilled workers, like doctors and nurses who had no connection to the city’s Filipino labor organizing history, according to Manang Leatrice Perez.\u003c/p>\n\u003cp>Little Manila was in grave danger. As more of the manangs and manongs passed, the Filipinx people in Stockton were not only losing their oral historians, but the physical spaces they worked to build together were disappearing, too. The city tore down most of the last remaining block of Little Manila during the \u003ca href=\"https://books.google.com/books?id=1ES2AgAAQBAJ&pg=PA335&lpg=PA335&dq=gateway+project+stockton+california+1990s+crosstown+freeway&source=bl&ots=uOAakT15X_&sig=ACfU3U2EYJnol3kEopKgXe1nkF2DLPdjAw&hl=en&sa=X&ved=2ahUKEwiGusvx5ZfxAhXVJjQIHbKfBvQQ6AEwD3oECB0QAw#v=onepage&q=gateway%20project%20stockton%20california%201990s%20crosstown%20freeway&f=false\">Gateway Project\u003c/a> in 1999.\u003c/p>\n\u003cp>Stockton natives Dr. Mabalon and her friend Dillon Delvo found out about this demolition and decided to fight to preserve the history that was being lost.\u003c/p>\n\u003cp>“Dawn Mabalon was one of the foremost Filipino historians in America,” Delvo said. “And for me, she was one of my best friends, one of my best childhood friends.”\u003c/p>\n\u003cfigure id=\"attachment_11687512\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11687512 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut.jpg\" alt=\"Dawn Bohulano Mabalon was a professor of history at San Francisco State University, co-founder of the Little Manila Foundation, and a board member of the Filipino National Historical Society.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Bohulano Mabalon was a professor of history at San Francisco State University, co-founder of the Little Manila Foundation and a board member of the Filipino National Historical Society. \u003ccite>(Courtesy of Gena Roma Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Delvo and Mabalon had left Stockton to study at San Francisco State University and UCLA, respectively, where they each found a deep love for ethnic studies and learned about the history of Little Manila and Filipino farm laborers in the Central Valley.\u003c/p>\n\u003cp>“Before ethnic studies I saw the experience [of being Filipino] as something you had to deal with, to progress from, that there wasn’t anything special, that it was embarrassing,” Delvo said. “But I realized, wow this is something extremely beautiful.”\u003c/p>\n\u003cp>Delvo and Mabalon returned to Stockton but were unable to stop the destruction of the neighborhood.\u003c/p>\n\u003cp>“We started raising funds to mark the area, so that people know this is a significant location not just to Filipino history but also to American history,” Delvo said.\u003c/p>\n\u003cfigure id=\"attachment_11878033\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11878033\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/LM.Student-Tours.2012.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Student-Tours.2012.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Student-Tours.2012-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Student-Tours.2012-160x120.jpg 160w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers from Little Manila Rising give a tour of the historic Little Manila neighborhood in Stockton in 2012. \u003ccite>(Courtesy of Elena Mangahas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They created an organization called Little Manila Rising (formerly the Little Manila Foundation) to prevent further destruction of the neighborhood, and in 2001 they were successful at getting the city to designate Little Manila as a historical site.\u003c/p>\n\u003cp>Over the next two decades, Little Manila Rising grew as a historical preservation organization, and implemented an after-school program in partnership with groups like the Filipino American National Historical Society.\u003c/p>\n\u003cp>In 2018, Mabalon passed from an asthma attack, which was a shock to the many people who organized with her, learned from her and were inspired by her. The most recent version of the \u003ca href=\"https://oehha.ca.gov/calenviroscreen/report/calenviroscreen-30\">California Communities Environmental Health Screening Tool (CalEnviroScreen)\u003c/a>, which identifies communities with multiple sources of pollution, showed that Stockton is in the 100th percentile of asthma-related issues, in large part due to long-term exposure to pollutants. Those pollutants can also be trace to the cross-town freeway that replaced much of Little Manila.\u003c/p>\n\u003cp>In her honor, Delvo and Little Manila Rising expanded its focus to include public health and mental health education, environmental justice, immigration rights and educational outreach for COVID-19 in South Stockton, including organizing testing and vaccination centers.\u003c/p>\n\u003cp>“If you just stay in historic preservation, you do not acknowledge that same freeway that destroyed your community is still killing people today,” Delvo said.\u003c/p>\n\u003cp>In October 2020, the city demolished the \u003ca href=\"https://www.littlemanila.org/blog/2020/10/22/the-demolition-of-the-rizal-social-club\">Rizal Social Club\u003c/a> building, and today, only two original buildings in Little Manila exist.\u003c/p>\n\u003cfigure id=\"attachment_11878034\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11878034\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-800x473.jpg\" alt=\"\" width=\"1920\" height=\"1134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-1536x908.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-2048x1210.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-1920x1134.jpg 1920w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Manila Rising works to preserve the last remaining buildings of Stockton’s Little Manila. In October 2020, the Rizal Social Club, pictured in middle, was demolished. \u003ccite>(Courtesy of Elena Mangahas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>The New Generation of Filipinx Leaders in Stockton\u003c/b>\u003c/h3>\n\u003cp>Donald Donaire’s life changed when they met Dr. Dawn Mabalon. Mabalon was giving a talk at UC San Diego for her book, and Donaire realized that there were people working to preserve the history of their hometown and organize the Filipinx community in Stockton.\u003c/p>\n\u003cp>So they decided to come back.\u003c/p>\n\u003cp>“I didn’t know that there was something so deep here in the city that I grew up in or that I call my hometown,” they said.\u003c/p>\n\u003cp>When Donaire returned in 2015, they worked as a youth educator with the \u003ca href=\"https://www.littlemanila.org/lmasp\">Little Manila After School Program (LMASP)\u003c/a>, which holds workshops for students and partners with other cultural groups, including Healing Pilipinx Uplifting Self & Others, Little Manila Dance Collective and the Kulintang Academy.\u003c/p>\n\u003cp>The program discusses the history of Little Manilla, Filipinx America and farm labor organizing, but Donaire says the students also learn about anti-Blackness within Asian communities, queer and transgender identity, Latinx history, the effects of COVID-19 on communities of color and more. Each year, the program culminates in a showcase — LMASP’s version of a \u003ca href=\"https://blog.sfgate.com/chroncast/2007/05/08/pilipino-cultural-night-a-rite-of-passage-for-students/\">Pilipino Cultural Night\u003c/a> — where the students write and perform their own work.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"A Tribe Called Maguindanao - From the 2018 Little Manila Community Showcase\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/d_l1UuYb2Us?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I think the reason why Gen Z and the younger generation are so active at this moment is because, especially in COVID, there is so much going on and there are so many material needs that need to be met,” said Donaire. “And there’s so much organizing that’s happening to build bigger networks of care and mutual aid.”\u003c/p>\n\u003cp>For Donaire, this work allows them the opportunity to not only educate younger people in ethnic studies and community organizing, but also provide space for them to feel supported by the community — something they didn’t have growing up.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I wanted to change that reality for young people now, coming back to Stockton, coming back to Little Manila,” said Donaire. “And making sure that they know that they can change the community in a way that makes them feel safe and wanted and loved and belong.”\u003c/p>\n\n",
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"title": "Little Manila Perseveres: How Filipinx Leaders in Stockton Are Organizing for the Next Generation | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On El Dorado Street in Stockton, only two buildings exist from the city’s original Little Manila neighborhood, though it was once home to the largest Filipino population outside of Manila itself.\u003c/p>\n\u003cp>Stockton was at the epicenter of Filipino migration in the 1920s, but as a queer and gender non-binary person who grew up in the city generations later, Donald Donaire did not feel supported by the Filipinx community.\u003c/p>\n\u003cp>“There was this culture that a lot of young people faced — a lot of my friends faced — that if we wanted to live happy lives, successful lives, we had to study and leave Stockton,” Donaire said.\u003c/p>\n\u003cp>Only when Donaire left Stockton in 2011 and studied at UC San Diego did they learn about the strong legacy of Filipino organizing and activism in their hometown. Now Donaire is one of several Filipinx people who have returned to Stockton as part of a new generation of leaders in the city working to reclaim their history.\u003c/p>\n\u003cp>“I think we’re definitely building on that legacy here, and really trying to make it more robust and inclusive to be responsive to the pandemic and movements that are happening at the same time for racial justice,” said Donaire.\u003c/p>\n\u003cfigure id=\"attachment_11687514\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11687514\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-800x488.jpg\" alt=\"\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-1200x733.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32460_littlemanila-1-qut-520x317.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The northern end of Little Manila in Stockton, at El Dorado and Washington streets, in the late 1920s. \u003ccite>(Photo: Frank Mancao. Courtesy of the Filipino American National Historic Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>The Pioneers of Little Manila in Stockton\u003c/b>\u003c/h3>\n\u003cp>The history of Filipinos in Stockton dates back a century. After the Philippine-American War, a large influx of Filipino men came to California during the 1920s and ’30s to perform cheap labor — in the Central Valley that was mostly farming. Many Filipinos settled in Stockton, and in time built businesses, fraternities, churches and community spaces on El Dorado Street, which became known as Little Manila.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Leatrice Bantillo Perez is a part of the Manang/Manong Generation that pioneered the early days of Little Manila. Filipinx people use manang/manong to show respect to elders, meaning an older sibling, aunt or uncle. At 92 years old, Perez — known as Manang Letty — lived through the establishment of Filipino businesses and culture, while working in farm labor, and eventually serving as the president of the \u003ca href=\"http://fanhsstockton.com/home\">Filipino American National Historical Society\u003c/a> chapter in Stockton.\u003c/p>\n\u003cp>The majority of Filipinos in Stockton during the first wave of migration were bachelors in their 20s. They weren’t allowed to own property or marry white women, and they couldn’t live in certain neighborhoods due to racist housing policies like redlining. Because of this discrimination, Perez remembers that her mother always made time to check in with the young men of the community.\u003c/p>\n\u003cfigure id=\"attachment_109456\" class=\"wp-caption aligncenter\" style=\"max-width: 410px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-109456\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2013/09/Little-Manila-3.jpeg\" alt=\"\" width=\"410\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Filipinos dressed up for photos headed back home in order to send the message ‘Doing well here in California!’ \u003ccite>(Courtesy of the Filipino American National Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As we walked down the street, ‘Hello, hello, kamusta kayo?’ You know, very friendly,” Perez said. “And the men felt good because at least somebody recognized them as a human being.”\u003c/p>\n\u003cp>There were also very few Filipina women or families. By some counts, there were \u003ca href=\"https://www.littlemanila.org/more-than-history\">more than a dozen men to each woman\u003c/a> during the early years of Little Manila, and Perez said a young woman was lucky if she had 20 suitors. Some suitors, she remembers, would offer to take the whole family to the movies, but Perez’s mother would step in and offer Perez as a chaperone instead.\u003c/p>\n\u003cp>“My mother would go, ‘Kawawa niman, he is making so little money and he has to pay for the whole family,’ ” Perez said.\u003c/p>\n\u003cp>Perez and her community were pioneers of a new Filipino American identity — at the same time they banded together and organized efforts to fight for labor rights. In 1939, laborers who picked asparagus went on strike for three days against unfair wage reduction. This is now known as the Good Friday Asparagus Strike.\u003c/p>\n\u003cp>“Not one Filipino went out to the asparagus fields,” Perez said. “About 7,000 Filipinos did not go into the field.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘I didn’t know that there was something so deep here in the city that I grew up in or that I call my hometown.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The asparagus workers formed a union called the Filipino Agricultural Labor Association, or FALA, to protest their pay cut. Since they worked and lived in company camps on the farms, the striking workers had no place to stay and no food to eat.\u003c/p>\n\u003cp>“The union and the Filipino community got together and asked the women of the community to do the cooking,” said Perez. “My mother cooked big kettles of chicken stew and some of the men would come and sit on our porch and eat there.”\u003c/p>\n\u003cp>From the 1930s through the 1950s, the Filipino community in Stockton continued to organize for workers’ rights, fighting for fair wages and safer working conditions. The organizing work didn’t stop even once Filipinos were granted citizenship after World War II, allowing those who fought in the war to own businesses and property and bring wives over from the Philippines.\u003c/p>\n\u003ch3>\u003cb>The Filipinx Force Behind the Farm Labor Movement\u003c/b>\u003c/h3>\n\u003cp>As Little Manila began to flourish with independent, family-owned businesses and community spaces, the landscape of agricultural work began to change; a large influx of Latinx farm laborers came to the Central Valley. The workers began to form their own unions and organizing bodies and banded together with the Filipinos to bolster their strength in numbers.\u003c/p>\n\u003cp>But the Filipino influence is often overlooked.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9465054694&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Many people know about the organizing of the\u003ca href=\"https://ufw.org/\"> United Farm Workers\u003c/a>, and the National Farm Workers Association. They know about Cesar Chavez or Dolores Huerta. But one of the most famous agricultural worker strikes, the 1965 \u003ca href=\"https://ufw.org/1965-1970-delano-grape-strike-boycott/\">Delano Grape Strike\u003c/a> in California, was started by Filipino organizers and spearheaded by Larry Itliong, who characterized himself as a “son of a bitch” when it came to fighting for agricultural workers’ rights.\u003c/p>\n\u003cp>“I did not learn about Larry Itliong or what was going on here in my place of growing up until I got to college at Long Beach State,” said Gayle Romasanta, a writer, educator and publisher who grew up in Stockton.\u003c/p>\n\u003cp>When Romasanta’s daughter received a school assignment to write about a figure in history, she realized there was a huge gap in education — there were no children’s books on Larry Itliong.\u003c/p>\n\u003cp>“I thought, my God, don’t tell me I have to write it myself!” Romasanta said.\u003c/p>\n\u003cp>She partnered with historian and author Dr. Dawn Bohulano Mabalon, who wrote one of the few historical books that exists on Stockton’s Little Manila called “\u003ca href=\"https://www.dukeupress.edu/little-manila-is-in-the-heart\">Little Manila Is in the Heart: The Making of the Filipina/o American Community in Stockton, California\u003c/a>.” Together they wrote the children’s book “\u003ca href=\"https://www.bridgedelta.com/purchase/journey-for-justice-the-life-of-larry-itliong\">Journey to Justice: The Life of Larry Itliong\u003c/a>.” A copy of the book, illustrated by Andre Sibayan, was donated to every school in Stockton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Journey for Justice: The Life of Larry Itliong Read Aloud\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/jTl17BnAaPk?start=256&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Romasanta said that there need to be more Filipinx historians and more people committed to sharing the history of Larry Itliong and the Filipinx people within the farm labor movement.\u003c/p>\n\u003cp>“We have to understand that Filipinos had decades worth of experience going on strike, and demanding for the living wage and working conditions,” Romasanta said. “Once we get to understand that … then we understand that we can continue that fight and it’s not recreating the wheel.”\u003c/p>\n\u003ch3>\u003cb>The Organizers Against Urban Renewal in Little Manila\u003c/b>\u003c/h3>\n\u003cp>Despite having spent decades building up Little Manila, Stockton’s local government enacted urban renewal policies that drastically changed the neighborhood from the 1960s to the 1980s. Businesses were shuttered and buildings knocked down to make space for a cross-town freeway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The city’s Filipino community was changing, too. Many of the people who worked in the fields were growing older and the new Filipinx immigrants were professionals and skilled workers, like doctors and nurses who had no connection to the city’s Filipino labor organizing history, according to Manang Leatrice Perez.\u003c/p>\n\u003cp>Little Manila was in grave danger. As more of the manangs and manongs passed, the Filipinx people in Stockton were not only losing their oral historians, but the physical spaces they worked to build together were disappearing, too. The city tore down most of the last remaining block of Little Manila during the \u003ca href=\"https://books.google.com/books?id=1ES2AgAAQBAJ&pg=PA335&lpg=PA335&dq=gateway+project+stockton+california+1990s+crosstown+freeway&source=bl&ots=uOAakT15X_&sig=ACfU3U2EYJnol3kEopKgXe1nkF2DLPdjAw&hl=en&sa=X&ved=2ahUKEwiGusvx5ZfxAhXVJjQIHbKfBvQQ6AEwD3oECB0QAw#v=onepage&q=gateway%20project%20stockton%20california%201990s%20crosstown%20freeway&f=false\">Gateway Project\u003c/a> in 1999.\u003c/p>\n\u003cp>Stockton natives Dr. Mabalon and her friend Dillon Delvo found out about this demolition and decided to fight to preserve the history that was being lost.\u003c/p>\n\u003cp>“Dawn Mabalon was one of the foremost Filipino historians in America,” Delvo said. “And for me, she was one of my best friends, one of my best childhood friends.”\u003c/p>\n\u003cfigure id=\"attachment_11687512\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11687512 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut.jpg\" alt=\"Dawn Bohulano Mabalon was a professor of history at San Francisco State University, co-founder of the Little Manila Foundation, and a board member of the Filipino National Historical Society.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/RS32454_Dawn_Home1-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Bohulano Mabalon was a professor of history at San Francisco State University, co-founder of the Little Manila Foundation and a board member of the Filipino National Historical Society. \u003ccite>(Courtesy of Gena Roma Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Delvo and Mabalon had left Stockton to study at San Francisco State University and UCLA, respectively, where they each found a deep love for ethnic studies and learned about the history of Little Manila and Filipino farm laborers in the Central Valley.\u003c/p>\n\u003cp>“Before ethnic studies I saw the experience [of being Filipino] as something you had to deal with, to progress from, that there wasn’t anything special, that it was embarrassing,” Delvo said. “But I realized, wow this is something extremely beautiful.”\u003c/p>\n\u003cp>Delvo and Mabalon returned to Stockton but were unable to stop the destruction of the neighborhood.\u003c/p>\n\u003cp>“We started raising funds to mark the area, so that people know this is a significant location not just to Filipino history but also to American history,” Delvo said.\u003c/p>\n\u003cfigure id=\"attachment_11878033\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11878033\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/LM.Student-Tours.2012.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Student-Tours.2012.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Student-Tours.2012-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Student-Tours.2012-160x120.jpg 160w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers from Little Manila Rising give a tour of the historic Little Manila neighborhood in Stockton in 2012. \u003ccite>(Courtesy of Elena Mangahas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They created an organization called Little Manila Rising (formerly the Little Manila Foundation) to prevent further destruction of the neighborhood, and in 2001 they were successful at getting the city to designate Little Manila as a historical site.\u003c/p>\n\u003cp>Over the next two decades, Little Manila Rising grew as a historical preservation organization, and implemented an after-school program in partnership with groups like the Filipino American National Historical Society.\u003c/p>\n\u003cp>In 2018, Mabalon passed from an asthma attack, which was a shock to the many people who organized with her, learned from her and were inspired by her. The most recent version of the \u003ca href=\"https://oehha.ca.gov/calenviroscreen/report/calenviroscreen-30\">California Communities Environmental Health Screening Tool (CalEnviroScreen)\u003c/a>, which identifies communities with multiple sources of pollution, showed that Stockton is in the 100th percentile of asthma-related issues, in large part due to long-term exposure to pollutants. Those pollutants can also be trace to the cross-town freeway that replaced much of Little Manila.\u003c/p>\n\u003cp>In her honor, Delvo and Little Manila Rising expanded its focus to include public health and mental health education, environmental justice, immigration rights and educational outreach for COVID-19 in South Stockton, including organizing testing and vaccination centers.\u003c/p>\n\u003cp>“If you just stay in historic preservation, you do not acknowledge that same freeway that destroyed your community is still killing people today,” Delvo said.\u003c/p>\n\u003cp>In October 2020, the city demolished the \u003ca href=\"https://www.littlemanila.org/blog/2020/10/22/the-demolition-of-the-rizal-social-club\">Rizal Social Club\u003c/a> building, and today, only two original buildings in Little Manila exist.\u003c/p>\n\u003cfigure id=\"attachment_11878034\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11878034\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-800x473.jpg\" alt=\"\" width=\"1920\" height=\"1134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-1536x908.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-2048x1210.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/LM.Three-Endangered-Buildings.2002-1920x1134.jpg 1920w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Manila Rising works to preserve the last remaining buildings of Stockton’s Little Manila. In October 2020, the Rizal Social Club, pictured in middle, was demolished. \u003ccite>(Courtesy of Elena Mangahas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>The New Generation of Filipinx Leaders in Stockton\u003c/b>\u003c/h3>\n\u003cp>Donald Donaire’s life changed when they met Dr. Dawn Mabalon. Mabalon was giving a talk at UC San Diego for her book, and Donaire realized that there were people working to preserve the history of their hometown and organize the Filipinx community in Stockton.\u003c/p>\n\u003cp>So they decided to come back.\u003c/p>\n\u003cp>“I didn’t know that there was something so deep here in the city that I grew up in or that I call my hometown,” they said.\u003c/p>\n\u003cp>When Donaire returned in 2015, they worked as a youth educator with the \u003ca href=\"https://www.littlemanila.org/lmasp\">Little Manila After School Program (LMASP)\u003c/a>, which holds workshops for students and partners with other cultural groups, including Healing Pilipinx Uplifting Self & Others, Little Manila Dance Collective and the Kulintang Academy.\u003c/p>\n\u003cp>The program discusses the history of Little Manilla, Filipinx America and farm labor organizing, but Donaire says the students also learn about anti-Blackness within Asian communities, queer and transgender identity, Latinx history, the effects of COVID-19 on communities of color and more. Each year, the program culminates in a showcase — LMASP’s version of a \u003ca href=\"https://blog.sfgate.com/chroncast/2007/05/08/pilipino-cultural-night-a-rite-of-passage-for-students/\">Pilipino Cultural Night\u003c/a> — where the students write and perform their own work.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"A Tribe Called Maguindanao - From the 2018 Little Manila Community Showcase\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/d_l1UuYb2Us?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I think the reason why Gen Z and the younger generation are so active at this moment is because, especially in COVID, there is so much going on and there are so many material needs that need to be met,” said Donaire. “And there’s so much organizing that’s happening to build bigger networks of care and mutual aid.”\u003c/p>\n\u003cp>For Donaire, this work allows them the opportunity to not only educate younger people in ethnic studies and community organizing, but also provide space for them to feel supported by the community — something they didn’t have growing up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to change that reality for young people now, coming back to Stockton, coming back to Little Manila,” said Donaire. “And making sure that they know that they can change the community in a way that makes them feel safe and wanted and loved and belong.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live Events Are Coming Back, But Challenges Remain for Arts Workers and Venue Owners",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Many live concerts and events are returning to the Bay Area, as COVID-19 cases remain low and the state ends capacity limits, social distancing and mask requirements in most places. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But not everyone working in live events is comfortable with the idea of working indoors with unmasked guests, and small venues are still waiting for federal relief money that was promised months ago.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest: \u003c/b>\u003ca href=\"https://twitter.com/nananastia\">\u003cspan style=\"font-weight: 400\">Nastia Voynovskaya\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, KQED arts and culture associate editor\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Episode transcript \u003ca href=\"https://bit.ly/2SEDDph\">here\u003c/a>. Subscribe to our newsletter \u003c/span>\u003c/i>\u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfeiQTfCnzwvOkxyTf8kUNPHsaoishgMkbMpQ25W5UpHOn9bw/viewform\">\u003ci>\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9505614137\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Follow \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/news/tag/the-bay\">\u003ci>\u003cspan style=\"font-weight: 400\">The Bay\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> to hear more local Bay Area stories like this one. New episodes are released Monday, Wednesday and Friday at 3 a.m. Find The Bay on \u003c/span>\u003c/i>\u003ca href=\"https://podcasts.apple.com/us/podcast/the-bay/id1350043452?mt=2\">\u003ci>\u003cspan style=\"font-weight: 400\">Apple Podcasts\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003ca href=\"https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ\">\u003ci>\u003cspan style=\"font-weight: 400\">Spotify\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003ca href=\"https://www.stitcher.com/podcast/kqed/the-bay\">\u003ci>\u003cspan style=\"font-weight: 400\">Stitcher\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, NPR One or via \u003c/span>\u003c/i>\u003ca href=\"https://www.amazon.com/KQED-The-Bay-Flash-Briefing/dp/B07H6YYV23\">\u003ci>\u003cspan style=\"font-weight: 400\">Alexa\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Many live concerts and events are returning to the Bay Area, as COVID-19 cases remain low and the state ends capacity limits, social distancing and mask requirements in most places. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But not everyone working in live events is comfortable with the idea of working indoors with unmasked guests, and small venues are still waiting for federal relief money that was promised months ago.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest: \u003c/b>\u003ca href=\"https://twitter.com/nananastia\">\u003cspan style=\"font-weight: 400\">Nastia Voynovskaya\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, KQED arts and culture associate editor\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Episode transcript \u003ca href=\"https://bit.ly/2SEDDph\">here\u003c/a>. Subscribe to our newsletter \u003c/span>\u003c/i>\u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfeiQTfCnzwvOkxyTf8kUNPHsaoishgMkbMpQ25W5UpHOn9bw/viewform\">\u003ci>\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9505614137\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Follow \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/news/tag/the-bay\">\u003ci>\u003cspan style=\"font-weight: 400\">The Bay\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> to hear more local Bay Area stories like this one. New episodes are released Monday, Wednesday and Friday at 3 a.m. Find The Bay on \u003c/span>\u003c/i>\u003ca href=\"https://podcasts.apple.com/us/podcast/the-bay/id1350043452?mt=2\">\u003ci>\u003cspan style=\"font-weight: 400\">Apple Podcasts\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003ca href=\"https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ\">\u003ci>\u003cspan style=\"font-weight: 400\">Spotify\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003ca href=\"https://www.stitcher.com/podcast/kqed/the-bay\">\u003ci>\u003cspan style=\"font-weight: 400\">Stitcher\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, NPR One or via \u003c/span>\u003c/i>\u003ca href=\"https://www.amazon.com/KQED-The-Bay-Flash-Briefing/dp/B07H6YYV23\">\u003ci>\u003cspan style=\"font-weight: 400\">Alexa\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Beautiful Bay Bridge Frank Lloyd Wright Never Got to Build",
"headTitle": "The Beautiful Bay Bridge Frank Lloyd Wright Never Got to Build | KQED",
"content": "\u003cp>\u003cem>This article was first published on Jan. 25, 2018. \u003c/em>\u003c/p>\n\u003cp>Did you know the great American architect Frank Lloyd Wright wanted to build a bridge across the San Francisco Bay?\u003c/p>\n\u003cp>Bay Curious question-asker Duncan Keefe of San Jose did. He studied architecture in school.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>“It would have been brilliant, and I think it would have been very influential — and possibly changed the course of how other bridges subsequent to it would have been designed,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Frank Lloyd Wright loved the San Francisco Bay Area. But you wouldn’t know it, because there just aren’t a lot of his buildings around here.\u003c/p>\n\u003cp>“Seven or eight, depending on how you count them, including the houses,” says \u003ca href=\"https://art.stanford.edu/people/paul-v-turner\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Turner\u003c/a>, a professor emeritus in architectural history at Stanford. He’s the author of “Frank Lloyd Wright and San Francisco,” a book that’s as much about the projects that \u003ci>didn’t\u003c/i> get built as the ones that did.\u003c/p>\n\u003cp>“Frank Lloyd Wright actually designed close to 30 projects for the Bay Area, and they include some of his most unusual and really amazing buildings,” Turner says.\u003c/p>\n\u003cfigure id=\"attachment_11642709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11642709 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28908_wright-qut-800x992.jpg\" alt=\"Master architect Frank Lloyd Wright in 1956, looking over his drawing of the Butterfly Bridge.\" width=\"800\" height=\"992\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-800x992.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-160x198.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-1020x1265.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-1180x1463.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-960x1191.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-240x298.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-375x465.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-520x645.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Master architect Frank Lloyd Wright in 1956, looking over his drawing of the ‘Butterfly Bridge’. \u003ccite>(Photo: Courtesy of Gordon Peters/San Francisco Chronicle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why did Wright’s proposals fail to get the go-ahead? A lot of times he was just dreaming too big (read: expensive) for the client. But that didn’t stop him from dreaming big.\u003c/p>\n\u003cp>“For example, his first skyscraper was designed for Market Street in San Francisco,” Turner says. “If there were some project that he found interesting, he would do the design and just hope that it would get built.”\u003c/p>\n\u003cp>Wright never got the commission for a San Francisco skyscraper. Just as he never got a commission to design another Bay Bridge.\u003c/p>\n\u003cp>There was talk of a second span \u003ca href=\"http://www.sfgate.com/thetake/article/Another-Bay-Bridge-70-years-of-absurd-crazy-and-12420536.php?t=8ed45000dc#photo-14668490\">almost as soon as the Bay Bridge was completed\u003c/a> in the 1930s. That’s right: Traffic was that bad, that early.\u003c/p>\n\u003cp>In the late 1940s, Wright was competing for projects all across the country. Jaroslav Joseph Polivka, a San Francisco Bay Area engineer and fan of Wright’s, suggested he throw his hat in the ring for the proposed second Bay Bridge.\u003c/p>\n\u003cfigure id=\"attachment_11642654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11642654 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-800x337.jpg\" alt=\"Frank Lloyd Wright's proposed "Butterfly Bridge." It would have stretched between San Francisco and Oakland, somewhere south of the Bay Bridge.\" width=\"800\" height=\"337\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-800x337.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-160x67.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-1020x430.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-1920x810.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-1180x498.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-960x405.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-240x101.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-375x158.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-520x219.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Lloyd Wright’s proposed ‘Butterfly Bridge.’ It would have stretched between San Francisco and Oakland, somewhere south of the Bay Bridge. \u003ccite>(Photo: Courtesy of the Frank Lloyd Wright Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was in 1949, and Wright would spend the last decade of his life trying to win over decision-makers in California. Essentially, he fell in love with his own proposal, which he called the “Butterfly Bridge.”\u003c/p>\n\u003cp>“The structure had the form of a thorax and wings of a butterfly in reinforced concrete. It’s a beautiful sculptural form when you look at the drawings that he did of it,” Turner says.\u003c/p>\n\u003cp>The Butterfly Bridge would have started on the San Francisco end of the bridge, at the terminus of Army Street, now Cesar Chavez. Long, curved, concrete arms stretch across the water toward Oakland, carrying six lanes of traffic and two pedestrian walkways.\u003c/p>\n\u003cp>The literal centerpiece of the bridge: a hanging garden.\u003c/p>\n\u003cp>“People driving across the bridge could pull off into this landscape park and enjoy the views from high above over the bay. It’s kind of a crazy idea that traffic going across the bay could stop and there would be enough room for parking and everything, but that was the idea,” Turner says.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=ZpPZVKMODqs]\u003c/p>\n\u003cp>The idea doesn’t sound too crazy to me. After all, the Golden Gate Bridge is a tourist destination as well as a throughput for traffic. The proposal for the Butterfly Bridge was received enthusiastically by the San Francisco press. But the state Assembly committee rejected the plan, influenced by consulting engineers dubious about the details.\u003c/p>\n\u003cp>“The engineers in Sacramento were able to say, ‘Well, it’s just not worked out in enough detail. We don’t think it’s going to work. It’s too radical,’ ” Turner says.\u003c/p>\n\u003cp>To be fair to the pencil pushers in the state Capitol, Turner adds we have to imagine how things looked back in the mid-20th century.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>“The idea was so unusual, was so radical, it was unlike any earlier bridge that had been designed,” he says. “And because Wright had not gotten a commission to do it, wasn’t being paid anything, they weren’t able to design the bridge in the kind of detail that would really be required, with all of the structural analysis and everything. That would have to come later.”\u003c/p>\n\u003cp>Ultimately, they decided it wasn’t necessary, because a few years later people started talking about BART under the bay, and so that became the solution to this traffic problem.\u003c/p>\n\u003cp>Wright called that idea “suicidal,” which turns out to be an overstatement as the Transbay Tube is still going strong after nearly 50 years.\u003c/p>\n\u003cp>In the end, Wright died, and with it, serious thoughts of doing something with his plans. Especially after the new, expanded San Mateo Bridge opened in 1967.\u003c/p>\n\u003cfigure id=\"attachment_11642655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11642655\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-800x448.jpg\" alt=\"The Bazett House in Hillsborough, drawing by Wright, 1939. This was one of the few Wright commissions that got built in the San Francisco Bay Area.\" width=\"800\" height=\"448\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-800x448.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-1020x571.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-1920x1075.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-1180x661.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-960x538.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-240x134.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-375x210.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-520x291.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bazett House in Hillsborough, drawing by Wright, 1939. This was one of the few Wright commissions that got built in the San Francisco Bay Area. \u003ccite>(Photo: Courtesy of the Frank Lloyd Wright Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People still talk of building another bridge to span the bay. Just a few years ago, Sen. Dianne Feinstein and East Bay Rep. Mark DeSaulnier \u003ca href=\"https://ww2.kqed.org/news/2017/12/18/you-say-you-want-a-new-bridge-or-2nd-bart-tube-heres-how-you-might-pay-for-it/\" target=\"_blank\" rel=\"noopener noreferrer\">called for another bay bridge\u003c/a>, a so-called Southern Crossing south of the Bay Bridge.\u003c/p>\n\u003cp>“Every now and then, people talk about an extra possible bridge and there’ll be stories in the newspapers. So it still captivates the imagination of the public because it is so beautiful,” Turner says, sighing.\u003c/p>\n\u003cp>So what does Duncan Keefe of San Jose think? Should we resurrect Frank Lloyd Wright’s Butterfly Bridge?\u003c/p>\n\u003cp>“As much as I would have liked to see this bridge have been built, it was for a different time. These days, if we’re going to make any investment, it ought to be in getting trains across the bay, not cars. We have enough cars already, and you know, throwing more cars across the bay is only going to make the traffic situation on the Peninsula and in San Francisco even worse,” Keefe says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This article was first published on Jan. 25, 2018. \u003c/em>\u003c/p>\n\u003cp>Did you know the great American architect Frank Lloyd Wright wanted to build a bridge across the San Francisco Bay?\u003c/p>\n\u003cp>Bay Curious question-asker Duncan Keefe of San Jose did. He studied architecture in school.\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>“It would have been brilliant, and I think it would have been very influential — and possibly changed the course of how other bridges subsequent to it would have been designed,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Frank Lloyd Wright loved the San Francisco Bay Area. But you wouldn’t know it, because there just aren’t a lot of his buildings around here.\u003c/p>\n\u003cp>“Seven or eight, depending on how you count them, including the houses,” says \u003ca href=\"https://art.stanford.edu/people/paul-v-turner\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Turner\u003c/a>, a professor emeritus in architectural history at Stanford. He’s the author of “Frank Lloyd Wright and San Francisco,” a book that’s as much about the projects that \u003ci>didn’t\u003c/i> get built as the ones that did.\u003c/p>\n\u003cp>“Frank Lloyd Wright actually designed close to 30 projects for the Bay Area, and they include some of his most unusual and really amazing buildings,” Turner says.\u003c/p>\n\u003cfigure id=\"attachment_11642709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11642709 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28908_wright-qut-800x992.jpg\" alt=\"Master architect Frank Lloyd Wright in 1956, looking over his drawing of the Butterfly Bridge.\" width=\"800\" height=\"992\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-800x992.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-160x198.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-1020x1265.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-1180x1463.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-960x1191.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-240x298.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-375x465.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28908_wright-qut-520x645.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Master architect Frank Lloyd Wright in 1956, looking over his drawing of the ‘Butterfly Bridge’. \u003ccite>(Photo: Courtesy of Gordon Peters/San Francisco Chronicle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why did Wright’s proposals fail to get the go-ahead? A lot of times he was just dreaming too big (read: expensive) for the client. But that didn’t stop him from dreaming big.\u003c/p>\n\u003cp>“For example, his first skyscraper was designed for Market Street in San Francisco,” Turner says. “If there were some project that he found interesting, he would do the design and just hope that it would get built.”\u003c/p>\n\u003cp>Wright never got the commission for a San Francisco skyscraper. Just as he never got a commission to design another Bay Bridge.\u003c/p>\n\u003cp>There was talk of a second span \u003ca href=\"http://www.sfgate.com/thetake/article/Another-Bay-Bridge-70-years-of-absurd-crazy-and-12420536.php?t=8ed45000dc#photo-14668490\">almost as soon as the Bay Bridge was completed\u003c/a> in the 1930s. That’s right: Traffic was that bad, that early.\u003c/p>\n\u003cp>In the late 1940s, Wright was competing for projects all across the country. Jaroslav Joseph Polivka, a San Francisco Bay Area engineer and fan of Wright’s, suggested he throw his hat in the ring for the proposed second Bay Bridge.\u003c/p>\n\u003cfigure id=\"attachment_11642654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11642654 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-800x337.jpg\" alt=\"Frank Lloyd Wright's proposed "Butterfly Bridge." It would have stretched between San Francisco and Oakland, somewhere south of the Bay Bridge.\" width=\"800\" height=\"337\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-800x337.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-160x67.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-1020x430.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-1920x810.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-1180x498.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-960x405.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-240x101.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-375x158.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Butterfly20Bridge20drawing-520x219.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Lloyd Wright’s proposed ‘Butterfly Bridge.’ It would have stretched between San Francisco and Oakland, somewhere south of the Bay Bridge. \u003ccite>(Photo: Courtesy of the Frank Lloyd Wright Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was in 1949, and Wright would spend the last decade of his life trying to win over decision-makers in California. Essentially, he fell in love with his own proposal, which he called the “Butterfly Bridge.”\u003c/p>\n\u003cp>“The structure had the form of a thorax and wings of a butterfly in reinforced concrete. It’s a beautiful sculptural form when you look at the drawings that he did of it,” Turner says.\u003c/p>\n\u003cp>The Butterfly Bridge would have started on the San Francisco end of the bridge, at the terminus of Army Street, now Cesar Chavez. Long, curved, concrete arms stretch across the water toward Oakland, carrying six lanes of traffic and two pedestrian walkways.\u003c/p>\n\u003cp>The literal centerpiece of the bridge: a hanging garden.\u003c/p>\n\u003cp>“People driving across the bridge could pull off into this landscape park and enjoy the views from high above over the bay. It’s kind of a crazy idea that traffic going across the bay could stop and there would be enough room for parking and everything, but that was the idea,” Turner says.\u003c/p>\n\u003cp>\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/ZpPZVKMODqs'\n title='//www.youtube.com/embed/ZpPZVKMODqs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The idea doesn’t sound too crazy to me. After all, the Golden Gate Bridge is a tourist destination as well as a throughput for traffic. The proposal for the Butterfly Bridge was received enthusiastically by the San Francisco press. But the state Assembly committee rejected the plan, influenced by consulting engineers dubious about the details.\u003c/p>\n\u003cp>“The engineers in Sacramento were able to say, ‘Well, it’s just not worked out in enough detail. We don’t think it’s going to work. It’s too radical,’ ” Turner says.\u003c/p>\n\u003cp>To be fair to the pencil pushers in the state Capitol, Turner adds we have to imagine how things looked back in the mid-20th century.\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 What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“The idea was so unusual, was so radical, it was unlike any earlier bridge that had been designed,” he says. “And because Wright had not gotten a commission to do it, wasn’t being paid anything, they weren’t able to design the bridge in the kind of detail that would really be required, with all of the structural analysis and everything. That would have to come later.”\u003c/p>\n\u003cp>Ultimately, they decided it wasn’t necessary, because a few years later people started talking about BART under the bay, and so that became the solution to this traffic problem.\u003c/p>\n\u003cp>Wright called that idea “suicidal,” which turns out to be an overstatement as the Transbay Tube is still going strong after nearly 50 years.\u003c/p>\n\u003cp>In the end, Wright died, and with it, serious thoughts of doing something with his plans. Especially after the new, expanded San Mateo Bridge opened in 1967.\u003c/p>\n\u003cfigure id=\"attachment_11642655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11642655\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-800x448.jpg\" alt=\"The Bazett House in Hillsborough, drawing by Wright, 1939. This was one of the few Wright commissions that got built in the San Francisco Bay Area.\" width=\"800\" height=\"448\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-800x448.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-1020x571.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-1920x1075.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-1180x661.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-960x538.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-240x134.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-375x210.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/01/Bazett-FLW20drwg2c20red27d-520x291.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bazett House in Hillsborough, drawing by Wright, 1939. This was one of the few Wright commissions that got built in the San Francisco Bay Area. \u003ccite>(Photo: Courtesy of the Frank Lloyd Wright Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People still talk of building another bridge to span the bay. Just a few years ago, Sen. Dianne Feinstein and East Bay Rep. Mark DeSaulnier \u003ca href=\"https://ww2.kqed.org/news/2017/12/18/you-say-you-want-a-new-bridge-or-2nd-bart-tube-heres-how-you-might-pay-for-it/\" target=\"_blank\" rel=\"noopener noreferrer\">called for another bay bridge\u003c/a>, a so-called Southern Crossing south of the Bay Bridge.\u003c/p>\n\u003cp>“Every now and then, people talk about an extra possible bridge and there’ll be stories in the newspapers. So it still captivates the imagination of the public because it is so beautiful,” Turner says, sighing.\u003c/p>\n\u003cp>So what does Duncan Keefe of San Jose think? Should we resurrect Frank Lloyd Wright’s Butterfly Bridge?\u003c/p>\n\u003cp>“As much as I would have liked to see this bridge have been built, it was for a different time. These days, if we’re going to make any investment, it ought to be in getting trains across the bay, not cars. We have enough cars already, and you know, throwing more cars across the bay is only going to make the traffic situation on the Peninsula and in San Francisco even worse,” Keefe says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "how-some-elders-are-working-to-preserve-the-legacy-of-the-black-panther-party-in-oakland",
"title": "How Some Elders are Working to Preserve the Legacy of the Black Panther Party in Oakland",
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"headTitle": "How Some Elders are Working to Preserve the Legacy of the Black Panther Party in Oakland | KQED",
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"content": "\u003cp>Buffalo Sojourn, who just goes by Buffalo, has been a community advocate for decades. He’s also a former member of the Black Panther Party for Self-Defense and has served as a medical advocate for the past 15 years.\u003c/p>\n\u003cp>Lately, he’s focused in particular on pushing for co-housing models for seniors.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Buffalo Sojourn\"]‘My higher education came through the Ministry of Information as led by the multimedia master and free speech developer [Leroy] Eldridge Cleaver. Mumia [Abu-Jamal] is my junior brother.’[/pullquote]\u003c/p>\n\u003cp>The Bay Area, where Buffalo has lived for over 40 years, can be a challenging place for seniors to find affordable housing. “Generally speaking, this is no place for old folks and it’s a hard place for old Panthers,” he said. Buffalo, 73, has been unhoused on and off for the past 20 years.\u003c/p>\n\u003cp>About three years ago, housing lawyer Beilal Chatila moved to West Oakland from Detroit. Chatila said he first met Buffalo while he was hanging out on the porch — they would sit and talk for hours. Eventually, Buffalo told Chatila about the many Black Panther Party-related documents he had in storage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I found out that he was without shelter, it came as a shock because I knew at the time that he was helping people who had cancer,” Chatila said.\u003c/p>\n\u003cp>Chatila recently started a \u003ca href=\"https://www.gofundme.com/f/black-panther-party-member-needs-our-help\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> on Buffalo’s behalf, detailing his financial situation.\u003c/p>\n\u003cp>“Buffalo receives about $700 a month in government aid, but he spends $480 of that per month on a storage unit, where he has preserved thousands of important documents and other memorabilia related to the Black Panther Party,” Chatila wrote on the page.\u003c/p>\n\u003cfigure id=\"attachment_11873911\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873911\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48929_007_Oakland_Buffalo_05062021-qut-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48929_007_Oakland_Buffalo_05062021-qut-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48929_007_Oakland_Buffalo_05062021-qut-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48929_007_Oakland_Buffalo_05062021-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48929_007_Oakland_Buffalo_05062021-qut-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48929_007_Oakland_Buffalo_05062021-qut.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Buffalo and attorney Beilal Chatila on Center and Ninth streets in Oakland on May 6, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Buffalo’s view, one of the most important things he can do is continue to preserve the legacy of the Black Panther Party for the generations to come.\u003c/p>\n\u003cp>Buffalo’s story brings up a larger issue of ownership, power and historical narrative when it comes to preserving and sharing the legacy of the Black Panther Party in Oakland, and the broader Bay Area. He’s one of many people eager to ensure the history of the Black Panther Party is accessible and available to the public.\u003c/p>\n\u003ch3>\u003cstrong>Buffalo and the Black Panther Party\u003c/strong>\u003c/h3>\n\u003cp>Buffalo’s relationship with the Black Panther Party spanned the course of several years.\u003c/p>\n\u003cp>“My higher education came through the Ministry of Information as led by the multimedia master and free speech developer [Leroy] Eldridge Cleaver,” Buffalo said. “Mumia [Abu-Jamal] is my junior brother.”\u003c/p>\n\u003cp>Buffalo also helped start a Black Panther Party chapter in Portland, Oregon, but eventually returned to San Francisco, where he last served the party.\u003c/p>\n\u003cp>“I’m an alumnus of Grove Street College,” he said. In the late ’60s and ’70s, the \u003ca href=\"https://sfbayview.com/2017/09/grove-street-college/\" target=\"_blank\" rel=\"noopener noreferrer\">Grove Street College\u003c/a> student body included Black Panther Party co-founders Huey P. Newton and Bobby Seale. Grove Street eventually turned into Merritt College, and a version of this evolved into what is now North Peralta Community College.\u003c/p>\n\u003cp>When considering his own documentation of his years in the party, Buffalo spoke to the idea of value — who is valuing what, and the broader need to train the next generation of archivists. “I’m part of a group that we’re training people, persuading people to gain knowledge in library and information science so that we have a group of archivists,” Buffalo said.\u003c/p>\n\u003cp>Who is telling the story, and how heavily police documents and FBI files are consulted, also forms the lens through which the story of the Black Panther Party is told. “There’s a number of additions and corrections to history as we know it,” Buffalo said.\u003c/p>\n\u003cp>Chatila added, “It’s basically the concept of controlling the narrative at least as it relates to the value of these artifacts,” with the idea to pass along the lessons to people today.\u003c/p>\n\u003cp>While Buffalo has many different documents in his storage unit, he highlighted a few specific pieces: “We have two or three collage posters about Mumia made in three cities, in three decades, on two coasts,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11873903\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873903\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48945_025_Oakland_Buffalo_05062021-qut-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48945_025_Oakland_Buffalo_05062021-qut-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48945_025_Oakland_Buffalo_05062021-qut-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48945_025_Oakland_Buffalo_05062021-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48945_025_Oakland_Buffalo_05062021-qut-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48945_025_Oakland_Buffalo_05062021-qut.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Buffalo holds a Mumia Abu-Jamal poster on Center and Ninth streets in Oakland on May 7, 2021, in front of a mural honoring the women of the Black Panther Party by Oakland-based muralist Rachel Wolfe-Goldsmith. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have a number of things that, either Mumia gets out alive, and I give to him, or else he dies and I give to his kinfolks,” Buffalo said. He also noted that since Abu-Jamal’s birthday, earlier this year, there’s been renewed efforts to call for his freedom. \u003ca href=\"https://www.democracynow.org/topics/mumia_abu_jamal\">Abu-Jamal\u003c/a> is a journalist and \u003ca href=\"https://www.goodreads.com/author/list/57926.Mumia_Abu_Jamal\" target=\"_blank\" rel=\"noopener noreferrer\">author\u003c/a> currently serving a prison sentence for the alleged murder of a police officer in 1982 after a trial that failed to meet international standards, \u003ca href=\"https://web.archive.org/web/20081201103126/http://www.amnesty.org/en/library/info/AMR51/001/2000\" target=\"_blank\" rel=\"noopener noreferrer\">according to rights group Amnesty International\u003c/a>. Many national and international celebrities \u003ca href=\"https://whyy.org/articles/supporters-of-mumia-abu-jamal-rally-on-his-67th-birthday-for-his-release/\" target=\"_blank\" rel=\"noopener noreferrer\">believe he was framed\u003c/a>.\u003c/p>\n\u003cp>Cases like Abu-Jamal’s continue to highlight the importance of having a reliable place to find information about the Black Panther Party.\u003c/p>\n\u003cp>Buffalo added that they’d “love to release it all and put it on the digital archive.” Then the public would be able to see any discrepancy — specifically with what may have been reported by \u003ca href=\"https://www.britannica.com/topic/COINTELPRO\" target=\"_blank\" rel=\"noopener noreferrer\">COINTELPRO\u003c/a>, the FBI counterintelligence program that aimed to discredit individuals considered subversive to the U.S. government. COINTELPRO used tactics such as psychological warfare, harassment and had extensive files on many Black Panther Party members.\u003c/p>\n\u003ch3>\u003cstrong>Making the Black Panther Party’s History More Accessible in the Bay Area \u003c/strong>\u003c/h3>\n\u003cp>In the late ’90s, shortly after Dr. Huey P. Newton’s papers were acquired by Stanford University for an \u003ca href=\"https://news.stanford.edu/pr/96/960306panthers.html\" target=\"_blank\" rel=\"noopener noreferrer\">undisclosed amount\u003c/a>, Billy X Jennings started “\u003ca href=\"http://www.itsabouttimebpp.com/BPP_Newspapers/htm/Its_About_Time_The_Archives_of_Billy_X_Jennings.htm\" target=\"_blank\" rel=\"noopener noreferrer\">It’s About Time,\u003c/a>” an online archive with a physical space in Sacramento. \u003c/p>\n\u003cp>“I made a promise at the time that we were going to start our own archives, and we did,” he told KQED.\u003c/p>\n\u003cp>For Jennings, access is the main issue. He wants people to be able to find the information wherever they are, especially those in Oakland. His own interest in archiving and preserving is in part because the history has been “distorted,” he said, referring to \u003ca href=\"https://www.britannica.com/topic/COINTELPRO\" target=\"_blank\" rel=\"noopener noreferrer\">COINTELPRO\u003c/a>.\u003c/p>\n\u003cp>“I’m still participating in the struggle because in the Black Panther Party it was ‘each one, teach one.’ I have knowledge and experience to pass on,” Jennings said. “It’s very important to have the correct information to educate people about the legacy of the party … even though the party is not here today, the party has lessons to be taught.”\u003c/p>\n\u003cp>Fredrika Newton, widow of Black Panther Party co-founder Huey P. Newton, said the \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Huey P. Newton Foundation\u003c/a> is working to digitize more archives and create public art to share the party’s history. She also said librarians have told her the Black Panther Party archives at Stanford libraries are some of the most visited. [pullquote size=\"medium\" align=\"right\" citation=\"Fredrika Newton, widow of Huey P. Newton, a co-founder of the Black Panther Party\"]‘Every member of the Black Panther Party has a false narrative courtesy of COINTELPRO … Lives were destroyed, relationships were destroyed, when people talk about: Did they just end? The party was destroyed.’[/pullquote]\u003c/p>\n\u003cp>Members of the party, as well as their supporters, often have a “false narrative courtesy of COINTELPRO,” Fredrika Newton said. “Lives were destroyed, relationships were destroyed, when people talk about: Did they just end? The party was destroyed.”\u003c/p>\n\u003cp>Displaying some of this history as public art is a major project of the foundation, to help reclaim the narrative.\u003c/p>\n\u003cp>“It’s exactly what we did in the Black Panther Party: using art as education,” she said.\u003c/p>\n\u003ch3>\u003cstrong>Rebalancing History Through Public Art\u003c/strong>\u003c/h3>\n\u003cp>For some supporters, that also means rebalancing the narrative, including the important role that women played in the party. Jilchristina Vest is the visionary and owner of the house with a \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener noreferrer\">mural honoring those women\u003c/a>. She said balancing the narrative doesn’t take anything away, but provides a more holistic story.[aside postID=news_11858928]\u003c/p>\n\u003cp>“What we need to understand, and the reason why I created the mural, was I was in such a deep place of grief and rage last summer,” Vest said, “and I needed to find balance and I needed to find joy.”\u003c/p>\n\u003cfigure id=\"attachment_11873904\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873904\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48943_023_Oakland_Buffalo_05062021-qut-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48943_023_Oakland_Buffalo_05062021-qut-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48943_023_Oakland_Buffalo_05062021-qut-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48943_023_Oakland_Buffalo_05062021-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48943_023_Oakland_Buffalo_05062021-qut-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48943_023_Oakland_Buffalo_05062021-qut.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beilal Chatila, Buffalo and Jilchristina Vest look at Buffalo’s Black Panther Party memorabilia on Center and Ninth streets in Oakland on May 7, 2021, in front of a mural honoring the women of the Black Panther Party by Oakland-based muralist Rachel Wolfe-Goldsmith. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She recently launched a \u003ca href=\"https://westoaklandmuralproject.org/pages/mini-museum-the-mural\" target=\"_blank\" rel=\"noopener noreferrer\">new website\u003c/a>, and tickets are now available for a new pop-up exhibit open for the first time Juneteenth weekend.\u003c/p>\n\u003cp>“We’ve gone too long with this negative false narrative of who the Black Panther Party was,” Vest said. “The Black Panther Party was systematically destroyed in ways in which that is still happening to people today.”\u003c/p>\n\u003cfigure id=\"attachment_11873909\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873909\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48938_016_Oakland_Buffalo_05062021-qut-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48938_016_Oakland_Buffalo_05062021-qut-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48938_016_Oakland_Buffalo_05062021-qut-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48938_016_Oakland_Buffalo_05062021-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48938_016_Oakland_Buffalo_05062021-qut-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48938_016_Oakland_Buffalo_05062021-qut.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther photos and posters at at the home of Jilchristina Vest on Center and Ninth streets in Oakland on May 7, 2021. Vest is making the ground floor of her home into a Black Panther Museum. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She echoes both Jennings and Buffalo in her view that much could be learned from the party’s legacy today.\u003c/p>\n\u003cp>“There was nothing that we were doing then, that cannot be done times 10 today,” Vest said. “They were a group of humanitarians that were trying to save people, feed people, clothe people, house people, educate people, protect people.”\u003c/p>\n\u003cp>Shortly after unveiling the mural in February, Vest called her friend \u003ca href=\"http://www.thealliance.media/profile/lisbet-tellefsen/\" target=\"_blank\" rel=\"noopener noreferrer\">Lisbet Tellefsen\u003c/a>, who she describes as “the cream of the crop archivist for the Black Panther Party.” Tellefsen brought over some banners that had been sitting in storage.\u003c/p>\n\u003cfigure id=\"attachment_11874964\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11874964\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48934_012_Oakland_Buffalo_05062021-qut-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48934_012_Oakland_Buffalo_05062021-qut-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48934_012_Oakland_Buffalo_05062021-qut-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48934_012_Oakland_Buffalo_05062021-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48934_012_Oakland_Buffalo_05062021-qut-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48934_012_Oakland_Buffalo_05062021-qut.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Buffalo tours the future site of a Black Panther Museum to be opened by Jilchristina Vest at her home on Center and Ninth streets in Oakland on May 7, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vest would like to see a permanent museum in Oakland, a permanent staff and dedicated researchers preserving the legacy of the party.\u003c/p>\n\u003cp>“If we continue to allow somebody else to tell us where we come from, then we’ll never know where we’re going,” she said. [aside tag=\"black-panther-party, oakland\" label=\"More Related Stories\"]\u003c/p>\n\u003cp>In the meantime, Vest said she’ll see how the pop-up museum goes and potentially keep it up longer.\u003c/p>\n\u003cp>“It’s our opportunity right now to unpack our own history and look at these archives and these photographs and the essays and speeches and remind ourselves that we’re descendants of,” she said, “in my opinion, one of the greatest groups of humanitarians that ever existed.”\u003c/p>\n\u003cp>Since Chatila launched the GoFundMe on behalf of Buffalo, they’ve raised nearly $25,000 of their goal of $100,000. As Chatila wrote in a recent update, “For now, he [Buffalo] is staying at Airbnb’s and is looking to buy a wheelchair accessible van for his medical advocacy work.”\u003c/p>\n\u003cp>Chatila said he’s going to make sure Buffalo has everything he needs and they’d like to be able to put money toward a house that can be used as an example of the collective senior housing Buffalo envisioned.\u003c/p>\n\u003cp>“Without us as a society providing health care and housing, and taking care of the basic needs of the elders, we’re losing a part of history,” Chatila said.\u003c/p>\n\u003cp>And since starting the GoFundMe, a company called \u003ca href=\"https://www.ripcord.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Ripcord\u003c/a> has offered assistance in digitizing the Black Panther Party documents.\u003c/p>\n\u003cp>As KQED took photos in early May, Buffalo and Vest, who used to be neighbors, chatted about their time in the party.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She joked that perhaps he should sit in one of the rooms of the pop up — as a part of the museum.\u003c/p>\n\u003cfigure id=\"attachment_11873905\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873905\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48925_003_Oakland_Buffalo_05062021-qut-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48925_003_Oakland_Buffalo_05062021-qut-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48925_003_Oakland_Buffalo_05062021-qut-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48925_003_Oakland_Buffalo_05062021-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48925_003_Oakland_Buffalo_05062021-qut-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48925_003_Oakland_Buffalo_05062021-qut.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Buffalo, 73, stands on Center and Ninth streets in Oakland on May 7, 2021, in front of a mural honoring the women of the Black Panther Party by Oakland-based muralist Rachel Wolfe-Goldsmith. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Buffalo Sojourn, who just goes by Buffalo, has been a community advocate for decades. He’s also a former member of the Black Panther Party for Self-Defense and has served as a medical advocate for the past 15 years.\u003c/p>\n\u003cp>Lately, he’s focused in particular on pushing for co-housing models for seniors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Bay Area, where Buffalo has lived for over 40 years, can be a challenging place for seniors to find affordable housing. “Generally speaking, this is no place for old folks and it’s a hard place for old Panthers,” he said. Buffalo, 73, has been unhoused on and off for the past 20 years.\u003c/p>\n\u003cp>About three years ago, housing lawyer Beilal Chatila moved to West Oakland from Detroit. Chatila said he first met Buffalo while he was hanging out on the porch — they would sit and talk for hours. Eventually, Buffalo told Chatila about the many Black Panther Party-related documents he had in storage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I found out that he was without shelter, it came as a shock because I knew at the time that he was helping people who had cancer,” Chatila said.\u003c/p>\n\u003cp>Chatila recently started a \u003ca href=\"https://www.gofundme.com/f/black-panther-party-member-needs-our-help\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> on Buffalo’s behalf, detailing his financial situation.\u003c/p>\n\u003cp>“Buffalo receives about $700 a month in government aid, but he spends $480 of that per month on a storage unit, where he has preserved thousands of important documents and other memorabilia related to the Black Panther Party,” Chatila wrote on the page.\u003c/p>\n\u003cfigure id=\"attachment_11873911\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873911\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48929_007_Oakland_Buffalo_05062021-qut-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48929_007_Oakland_Buffalo_05062021-qut-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48929_007_Oakland_Buffalo_05062021-qut-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48929_007_Oakland_Buffalo_05062021-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48929_007_Oakland_Buffalo_05062021-qut-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48929_007_Oakland_Buffalo_05062021-qut.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Buffalo and attorney Beilal Chatila on Center and Ninth streets in Oakland on May 6, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Buffalo’s view, one of the most important things he can do is continue to preserve the legacy of the Black Panther Party for the generations to come.\u003c/p>\n\u003cp>Buffalo’s story brings up a larger issue of ownership, power and historical narrative when it comes to preserving and sharing the legacy of the Black Panther Party in Oakland, and the broader Bay Area. He’s one of many people eager to ensure the history of the Black Panther Party is accessible and available to the public.\u003c/p>\n\u003ch3>\u003cstrong>Buffalo and the Black Panther Party\u003c/strong>\u003c/h3>\n\u003cp>Buffalo’s relationship with the Black Panther Party spanned the course of several years.\u003c/p>\n\u003cp>“My higher education came through the Ministry of Information as led by the multimedia master and free speech developer [Leroy] Eldridge Cleaver,” Buffalo said. “Mumia [Abu-Jamal] is my junior brother.”\u003c/p>\n\u003cp>Buffalo also helped start a Black Panther Party chapter in Portland, Oregon, but eventually returned to San Francisco, where he last served the party.\u003c/p>\n\u003cp>“I’m an alumnus of Grove Street College,” he said. In the late ’60s and ’70s, the \u003ca href=\"https://sfbayview.com/2017/09/grove-street-college/\" target=\"_blank\" rel=\"noopener noreferrer\">Grove Street College\u003c/a> student body included Black Panther Party co-founders Huey P. Newton and Bobby Seale. Grove Street eventually turned into Merritt College, and a version of this evolved into what is now North Peralta Community College.\u003c/p>\n\u003cp>When considering his own documentation of his years in the party, Buffalo spoke to the idea of value — who is valuing what, and the broader need to train the next generation of archivists. “I’m part of a group that we’re training people, persuading people to gain knowledge in library and information science so that we have a group of archivists,” Buffalo said.\u003c/p>\n\u003cp>Who is telling the story, and how heavily police documents and FBI files are consulted, also forms the lens through which the story of the Black Panther Party is told. “There’s a number of additions and corrections to history as we know it,” Buffalo said.\u003c/p>\n\u003cp>Chatila added, “It’s basically the concept of controlling the narrative at least as it relates to the value of these artifacts,” with the idea to pass along the lessons to people today.\u003c/p>\n\u003cp>While Buffalo has many different documents in his storage unit, he highlighted a few specific pieces: “We have two or three collage posters about Mumia made in three cities, in three decades, on two coasts,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11873903\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873903\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48945_025_Oakland_Buffalo_05062021-qut-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48945_025_Oakland_Buffalo_05062021-qut-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48945_025_Oakland_Buffalo_05062021-qut-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48945_025_Oakland_Buffalo_05062021-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48945_025_Oakland_Buffalo_05062021-qut-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48945_025_Oakland_Buffalo_05062021-qut.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Buffalo holds a Mumia Abu-Jamal poster on Center and Ninth streets in Oakland on May 7, 2021, in front of a mural honoring the women of the Black Panther Party by Oakland-based muralist Rachel Wolfe-Goldsmith. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have a number of things that, either Mumia gets out alive, and I give to him, or else he dies and I give to his kinfolks,” Buffalo said. He also noted that since Abu-Jamal’s birthday, earlier this year, there’s been renewed efforts to call for his freedom. \u003ca href=\"https://www.democracynow.org/topics/mumia_abu_jamal\">Abu-Jamal\u003c/a> is a journalist and \u003ca href=\"https://www.goodreads.com/author/list/57926.Mumia_Abu_Jamal\" target=\"_blank\" rel=\"noopener noreferrer\">author\u003c/a> currently serving a prison sentence for the alleged murder of a police officer in 1982 after a trial that failed to meet international standards, \u003ca href=\"https://web.archive.org/web/20081201103126/http://www.amnesty.org/en/library/info/AMR51/001/2000\" target=\"_blank\" rel=\"noopener noreferrer\">according to rights group Amnesty International\u003c/a>. Many national and international celebrities \u003ca href=\"https://whyy.org/articles/supporters-of-mumia-abu-jamal-rally-on-his-67th-birthday-for-his-release/\" target=\"_blank\" rel=\"noopener noreferrer\">believe he was framed\u003c/a>.\u003c/p>\n\u003cp>Cases like Abu-Jamal’s continue to highlight the importance of having a reliable place to find information about the Black Panther Party.\u003c/p>\n\u003cp>Buffalo added that they’d “love to release it all and put it on the digital archive.” Then the public would be able to see any discrepancy — specifically with what may have been reported by \u003ca href=\"https://www.britannica.com/topic/COINTELPRO\" target=\"_blank\" rel=\"noopener noreferrer\">COINTELPRO\u003c/a>, the FBI counterintelligence program that aimed to discredit individuals considered subversive to the U.S. government. COINTELPRO used tactics such as psychological warfare, harassment and had extensive files on many Black Panther Party members.\u003c/p>\n\u003ch3>\u003cstrong>Making the Black Panther Party’s History More Accessible in the Bay Area \u003c/strong>\u003c/h3>\n\u003cp>In the late ’90s, shortly after Dr. Huey P. Newton’s papers were acquired by Stanford University for an \u003ca href=\"https://news.stanford.edu/pr/96/960306panthers.html\" target=\"_blank\" rel=\"noopener noreferrer\">undisclosed amount\u003c/a>, Billy X Jennings started “\u003ca href=\"http://www.itsabouttimebpp.com/BPP_Newspapers/htm/Its_About_Time_The_Archives_of_Billy_X_Jennings.htm\" target=\"_blank\" rel=\"noopener noreferrer\">It’s About Time,\u003c/a>” an online archive with a physical space in Sacramento. \u003c/p>\n\u003cp>“I made a promise at the time that we were going to start our own archives, and we did,” he told KQED.\u003c/p>\n\u003cp>For Jennings, access is the main issue. He wants people to be able to find the information wherever they are, especially those in Oakland. His own interest in archiving and preserving is in part because the history has been “distorted,” he said, referring to \u003ca href=\"https://www.britannica.com/topic/COINTELPRO\" target=\"_blank\" rel=\"noopener noreferrer\">COINTELPRO\u003c/a>.\u003c/p>\n\u003cp>“I’m still participating in the struggle because in the Black Panther Party it was ‘each one, teach one.’ I have knowledge and experience to pass on,” Jennings said. “It’s very important to have the correct information to educate people about the legacy of the party … even though the party is not here today, the party has lessons to be taught.”\u003c/p>\n\u003cp>Fredrika Newton, widow of Black Panther Party co-founder Huey P. Newton, said the \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Huey P. Newton Foundation\u003c/a> is working to digitize more archives and create public art to share the party’s history. She also said librarians have told her the Black Panther Party archives at Stanford libraries are some of the most visited. \u003c/p>\u003c/div>",
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"content": "‘Every member of the Black Panther Party has a false narrative courtesy of COINTELPRO … Lives were destroyed, relationships were destroyed, when people talk about: Did they just end? The party was destroyed.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Members of the party, as well as their supporters, often have a “false narrative courtesy of COINTELPRO,” Fredrika Newton said. “Lives were destroyed, relationships were destroyed, when people talk about: Did they just end? The party was destroyed.”\u003c/p>\n\u003cp>Displaying some of this history as public art is a major project of the foundation, to help reclaim the narrative.\u003c/p>\n\u003cp>“It’s exactly what we did in the Black Panther Party: using art as education,” she said.\u003c/p>\n\u003ch3>\u003cstrong>Rebalancing History Through Public Art\u003c/strong>\u003c/h3>\n\u003cp>For some supporters, that also means rebalancing the narrative, including the important role that women played in the party. Jilchristina Vest is the visionary and owner of the house with a \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener noreferrer\">mural honoring those women\u003c/a>. She said balancing the narrative doesn’t take anything away, but provides a more holistic story.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What we need to understand, and the reason why I created the mural, was I was in such a deep place of grief and rage last summer,” Vest said, “and I needed to find balance and I needed to find joy.”\u003c/p>\n\u003cfigure id=\"attachment_11873904\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873904\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48943_023_Oakland_Buffalo_05062021-qut-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48943_023_Oakland_Buffalo_05062021-qut-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48943_023_Oakland_Buffalo_05062021-qut-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48943_023_Oakland_Buffalo_05062021-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48943_023_Oakland_Buffalo_05062021-qut-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48943_023_Oakland_Buffalo_05062021-qut.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beilal Chatila, Buffalo and Jilchristina Vest look at Buffalo’s Black Panther Party memorabilia on Center and Ninth streets in Oakland on May 7, 2021, in front of a mural honoring the women of the Black Panther Party by Oakland-based muralist Rachel Wolfe-Goldsmith. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She recently launched a \u003ca href=\"https://westoaklandmuralproject.org/pages/mini-museum-the-mural\" target=\"_blank\" rel=\"noopener noreferrer\">new website\u003c/a>, and tickets are now available for a new pop-up exhibit open for the first time Juneteenth weekend.\u003c/p>\n\u003cp>“We’ve gone too long with this negative false narrative of who the Black Panther Party was,” Vest said. “The Black Panther Party was systematically destroyed in ways in which that is still happening to people today.”\u003c/p>\n\u003cfigure id=\"attachment_11873909\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873909\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48938_016_Oakland_Buffalo_05062021-qut-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48938_016_Oakland_Buffalo_05062021-qut-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48938_016_Oakland_Buffalo_05062021-qut-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48938_016_Oakland_Buffalo_05062021-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48938_016_Oakland_Buffalo_05062021-qut-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48938_016_Oakland_Buffalo_05062021-qut.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther photos and posters at at the home of Jilchristina Vest on Center and Ninth streets in Oakland on May 7, 2021. Vest is making the ground floor of her home into a Black Panther Museum. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She echoes both Jennings and Buffalo in her view that much could be learned from the party’s legacy today.\u003c/p>\n\u003cp>“There was nothing that we were doing then, that cannot be done times 10 today,” Vest said. “They were a group of humanitarians that were trying to save people, feed people, clothe people, house people, educate people, protect people.”\u003c/p>\n\u003cp>Shortly after unveiling the mural in February, Vest called her friend \u003ca href=\"http://www.thealliance.media/profile/lisbet-tellefsen/\" target=\"_blank\" rel=\"noopener noreferrer\">Lisbet Tellefsen\u003c/a>, who she describes as “the cream of the crop archivist for the Black Panther Party.” Tellefsen brought over some banners that had been sitting in storage.\u003c/p>\n\u003cfigure id=\"attachment_11874964\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11874964\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48934_012_Oakland_Buffalo_05062021-qut-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48934_012_Oakland_Buffalo_05062021-qut-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48934_012_Oakland_Buffalo_05062021-qut-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48934_012_Oakland_Buffalo_05062021-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48934_012_Oakland_Buffalo_05062021-qut-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48934_012_Oakland_Buffalo_05062021-qut.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Buffalo tours the future site of a Black Panther Museum to be opened by Jilchristina Vest at her home on Center and Ninth streets in Oakland on May 7, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vest would like to see a permanent museum in Oakland, a permanent staff and dedicated researchers preserving the legacy of the party.\u003c/p>\n\u003cp>“If we continue to allow somebody else to tell us where we come from, then we’ll never know where we’re going,” she said. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, Vest said she’ll see how the pop-up museum goes and potentially keep it up longer.\u003c/p>\n\u003cp>“It’s our opportunity right now to unpack our own history and look at these archives and these photographs and the essays and speeches and remind ourselves that we’re descendants of,” she said, “in my opinion, one of the greatest groups of humanitarians that ever existed.”\u003c/p>\n\u003cp>Since Chatila launched the GoFundMe on behalf of Buffalo, they’ve raised nearly $25,000 of their goal of $100,000. As Chatila wrote in a recent update, “For now, he [Buffalo] is staying at Airbnb’s and is looking to buy a wheelchair accessible van for his medical advocacy work.”\u003c/p>\n\u003cp>Chatila said he’s going to make sure Buffalo has everything he needs and they’d like to be able to put money toward a house that can be used as an example of the collective senior housing Buffalo envisioned.\u003c/p>\n\u003cp>“Without us as a society providing health care and housing, and taking care of the basic needs of the elders, we’re losing a part of history,” Chatila said.\u003c/p>\n\u003cp>And since starting the GoFundMe, a company called \u003ca href=\"https://www.ripcord.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Ripcord\u003c/a> has offered assistance in digitizing the Black Panther Party documents.\u003c/p>\n\u003cp>As KQED took photos in early May, Buffalo and Vest, who used to be neighbors, chatted about their time in the party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She joked that perhaps he should sit in one of the rooms of the pop up — as a part of the museum.\u003c/p>\n\u003cfigure id=\"attachment_11873905\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873905\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48925_003_Oakland_Buffalo_05062021-qut-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48925_003_Oakland_Buffalo_05062021-qut-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48925_003_Oakland_Buffalo_05062021-qut-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48925_003_Oakland_Buffalo_05062021-qut-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48925_003_Oakland_Buffalo_05062021-qut-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48925_003_Oakland_Buffalo_05062021-qut.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Buffalo, 73, stands on Center and Ninth streets in Oakland on May 7, 2021, in front of a mural honoring the women of the Black Panther Party by Oakland-based muralist Rachel Wolfe-Goldsmith. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "a-star-without-a-star-an-oakland-mans-mission-to-get-his-aunt-on-the-hollywood-walk-of-fame",
"title": "‘A Star Without a Star’: An Oakland Man's Mission to Get his Aunt on the Hollywood Walk of Fame",
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"headTitle": "‘A Star Without a Star’: An Oakland Man’s Mission to Get his Aunt on the Hollywood Walk of Fame | KQED",
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"content": "\u003cp>Long before the current reckoning with the Golden Globe Awards and the push for more diverse representation in media, Black actors in Hollywood’s golden age paved the way in an industry that gave them few options and, often, no credit. In her seven-decade stage and screen career, Juanita Moore made more than 80 film and television appearances.\u003c/p>\n\u003cp>Though she was nominated for an Academy Award for her performance in the 1959 film, \u003ca href=\"https://www.imdb.com/title/tt0052918/?ref_=tt_mv_close\">“Imitation of Life,” \u003c/a>she didn’t reach the level of fame and recognition that might normally follow such a nomination. Her nephew, Arnett Moore, says her spotlight is long overdue. [pullquote size=\"medium\" align=\"right\" citation=\"Arnett Moore\"]‘In the ’50s when I was growing up, when you saw a Black person on the TV screen, you got excited. And Juanita was that face you saw again and again and again. You might not know her name, but you knew that she was that person.’[/pullquote]\u003c/p>\n\u003cp>From his home in the Oakland Hills, 75-year-old Arnett has launched a one-man campaign to get his late aunt a star on the Hollywood Walk of Fame. The Hollywood Chamber of Commerce only picks one posthumous candidate each year to get a star. Applications are due by May 28, and this is the third year in a row Arnett has submitted Juanita for consideration.\u003c/p>\n\u003cp>“In the ’50s when I was growing up, when you saw a Black person on the TV screen, you got excited. And Juanita was that face you saw again and again and again,” he says, “You might not know her name, but you knew that she was that person.”\u003c/p>\n\u003cfigure id=\"attachment_11874869\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874869 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-800x947.jpg\" alt=\"\" width=\"800\" height=\"947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-800x947.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-1020x1207.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-1298x1536.jpg 1298w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-1731x2048.jpg 1731w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Portrait of Juanita Moore. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juanita was born in Itta Bena, Mississippi, one of seven sisters, and the youngest of nine children, though one of her brothers died in childhood. Her other brother was Arnett’s father. Juanita’s mother moved all the children to Los Angeles around 1921. Her brother, Juanita’s uncle, was a sleeping car porter and was able to get train tickets for the family to come to California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While attending Thomas Jefferson High School in Los Angeles, Juanita was part of the glee club, singing and dancing. A teacher saw her perform and suggested that she had the talent to pursue a career on stage. Arnett says she and a friend moved to New York City to do just that.\u003c/p>\n\u003cp>“She was a showgirl at 18 at Small’s Paradise, at the (Cafe Zanzibar), at several venues throughout New York, during the Harlem Renaissance. This is in the thirties.\u003ci>” \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11874820\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874820 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-800x653.jpg\" alt=\"\" width=\"800\" height=\"653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-1020x833.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-1536x1255.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18.jpg 1921w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore, around 18 years old, as a Chorus Girl in New York circa 1933. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But soon after, says Arnett, Juanita headed to Europe, “Because Black entertainers weren’t as well received in America as they were in Europe.” She sang at the London Palladium, at the Moulin Rouge, and Arnett says she even had a chance to sing and dance with Josephine Baker, the entertainer and civil rights activist.\u003c/p>\n\u003cfigure id=\"attachment_11874838\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874838 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-800x983.jpg\" alt=\"\" width=\"800\" height=\"983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-800x983.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-1020x1253.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-1250x1536.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-1667x2048.jpg 1667w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore (right), with a friend, sometime in the early ’30s. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juanita returned to California after the death of her mother, and it was then that she began to pursue acting. “She started out in, they called it, Black cinema or\u003ca href=\"https://www.npr.org/sections/codeswitch/2016/03/04/469149240/restored-movies-by-african-american-filmmakers-find-new-audiences\"> race movies,\u003c/a>” Arnett says. These were films made by Black filmmakers featuring primary Black casts for Black audiences. “But these were all movies that you aren’t getting credit for, for being a Hollywood star yet.\u003cem>” \u003c/em>\u003c/p>\n\u003cp>Her first appearance in a mainstream movie came in the 1949 film, “Pinky,” in which she had a few lines as a nurse. Many of the roles available to her were based on negative stereotypes, Arnett says.\u003c/p>\n\u003cp>“She once said she was from the boudoir to the jungle,” he says, “In other words, she played a maid to a savage. And that was her early career.” Those were the roles available to Black women at the time, says Arnett, but Juanita had her limits. “One thing she wouldn’t do is play the mammy role or the buffoon roles. She would not do those, and those that did became very successful. But she refused to do those.”\u003c/p>\n\u003cp>It wasn’t until 1959 that Juanita got her big break when she was cast in the drama, “Imitation of Life,” alongside Lana Turner and Susan Kohner. Juanita plays Annie, a woman whose light-skinned daughter rejects her Black identity, to live her life passing as white.\u003c/p>\n\u003cp>https://youtu.be/-_ax1pt8zp0\u003c/p>\n\u003cp>“I remember that it was a very emotional picture,” Arnett says, “I once was asked by a friend of mine who was older, ‘Did you cry during Imitation of Life?’ I said, ‘No!’ I didn’t want him to think I cried. But yes,” Arnett admits, laughing, “I cry even today. And I cried then.”\u003c/p>\n\u003cp>During a 1995 interview with Turner Classic Movies, Juanita Moore remembered what the film’s producer, Ross Hunter, told her when she got the part: “’Juanita,’ he said, ‘I’ve put my neck out for you. If you’re no good, the picture is not gonna be any good.’”\u003c/p>\n\u003cfigure id=\"attachment_11874895\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874895 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-800x1234.jpg\" alt=\"\" width=\"800\" height=\"1234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1020x1573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-996x1536.jpg 996w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1328x2048.jpg 1328w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1920x2960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-scaled.jpg 1660w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita with Ross Hunter, the producer of ‘Imitation of Life,’ and Sammy Davis Jr. Sammy was a friend of Juanita’s, and stopped by the set for a visit. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was significant pressure,” Arnett says, “Because really that was her coming out too. She had been in movies prior to that, playing small parts and some uncredited parts. But this was her opportunity to bust out at 44-years-old.”\u003c/p>\n\u003cp>The film was a success and Juanita received an Academy Awards nomination for Best Supporting Actress. She became the fifth Black actor ever to be nominated for an Oscar. Although she didn’t win, Juanita hoped she would get cast in more leading roles. But the offers never came. She didn’t work for a year after that.\u003c/p>\n\u003cp>“I didn’t want to carry the trays anymore,” recalled Juanita during the 1995 interview. “I knew that was the only kind of job that I was going to get. I knew that, but I did not want to do that. So I don’t know if being nominated helped me or not.”\u003c/p>\n\u003cp>But true to her passion, Juanita never quit acting. She went on to perform in mostly small roles. Her last role was in 2000, as a grandmother in Disney’s “The Kid” with Bruce Willis.\u003c/p>\n\u003cp>She died just before New Year’s Day 2014, at the age of 99.\u003c/p>\n\u003cfigure id=\"attachment_11874843\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874843 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-800x995.jpg\" alt=\"\" width=\"800\" height=\"995\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore in the 1950s. Photo courtesy Arnett Moore\u003c/figcaption>\u003c/figure>\n\u003cp>Arnett says his aunt never talked much about her career when he was a kid growing up in LA.[aside tag=\"hollywood, golden globes\" label=\"More Hollywood Stories\"] He’s had to uncover much of her professional history himself after her death, including digging up hundreds of photos. A three-inch-thick binder holds much of the information he’s found about his aunt, and many family photos too. Framed portraits of her sit in his living room. His affection and admiration for her is clear.\u003c/p>\n\u003cp>“I’m very proud of her,” he says, “She had a lot of obstacles, the biggest one being racism … she’s a star without a star.”\u003c/p>\n\u003cp>Arnett recalls a conversation he had with Juanita just a few months before her death.\u003c/p>\n\u003cp>“I said, Nita, do you want a star on the Hollywood Walk of Fame? And she says, ‘If you think I deserve one, baby.’ From that point on, I did everything I could to look and research and see how she could earn a star on the Hollywood Walk of Fame.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Arnett says he’s mostly optimistic. If Juanita isn’t selected this time around, he says he’ll keep trying until she gets her star.\u003c/p>\n\n",
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"title": "‘A Star Without a Star’: An Oakland Man's Mission to Get his Aunt on the Hollywood Walk of Fame | KQED",
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"headline": "‘A Star Without a Star’: An Oakland Man's Mission to Get his Aunt on the Hollywood Walk of Fame",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before the current reckoning with the Golden Globe Awards and the push for more diverse representation in media, Black actors in Hollywood’s golden age paved the way in an industry that gave them few options and, often, no credit. In her seven-decade stage and screen career, Juanita Moore made more than 80 film and television appearances.\u003c/p>\n\u003cp>Though she was nominated for an Academy Award for her performance in the 1959 film, \u003ca href=\"https://www.imdb.com/title/tt0052918/?ref_=tt_mv_close\">“Imitation of Life,” \u003c/a>she didn’t reach the level of fame and recognition that might normally follow such a nomination. Her nephew, Arnett Moore, says her spotlight is long overdue. \u003c/p>\u003c/div>",
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"content": "‘In the ’50s when I was growing up, when you saw a Black person on the TV screen, you got excited. And Juanita was that face you saw again and again and again. You might not know her name, but you knew that she was that person.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From his home in the Oakland Hills, 75-year-old Arnett has launched a one-man campaign to get his late aunt a star on the Hollywood Walk of Fame. The Hollywood Chamber of Commerce only picks one posthumous candidate each year to get a star. Applications are due by May 28, and this is the third year in a row Arnett has submitted Juanita for consideration.\u003c/p>\n\u003cp>“In the ’50s when I was growing up, when you saw a Black person on the TV screen, you got excited. And Juanita was that face you saw again and again and again,” he says, “You might not know her name, but you knew that she was that person.”\u003c/p>\n\u003cfigure id=\"attachment_11874869\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874869 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Portrait-800x947.jpg\" alt=\"\" width=\"800\" height=\"947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-800x947.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-1020x1207.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-1298x1536.jpg 1298w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait-1731x2048.jpg 1731w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Portrait.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Portrait of Juanita Moore. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juanita was born in Itta Bena, Mississippi, one of seven sisters, and the youngest of nine children, though one of her brothers died in childhood. Her other brother was Arnett’s father. Juanita’s mother moved all the children to Los Angeles around 1921. Her brother, Juanita’s uncle, was a sleeping car porter and was able to get train tickets for the family to come to California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While attending Thomas Jefferson High School in Los Angeles, Juanita was part of the glee club, singing and dancing. A teacher saw her perform and suggested that she had the talent to pursue a career on stage. Arnett says she and a friend moved to New York City to do just that.\u003c/p>\n\u003cp>“She was a showgirl at 18 at Small’s Paradise, at the (Cafe Zanzibar), at several venues throughout New York, during the Harlem Renaissance. This is in the thirties.\u003ci>” \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11874820\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874820 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Age-18-800x653.jpg\" alt=\"\" width=\"800\" height=\"653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-1020x833.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18-1536x1255.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-Age-18.jpg 1921w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore, around 18 years old, as a Chorus Girl in New York circa 1933. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But soon after, says Arnett, Juanita headed to Europe, “Because Black entertainers weren’t as well received in America as they were in Europe.” She sang at the London Palladium, at the Moulin Rouge, and Arnett says she even had a chance to sing and dance with Josephine Baker, the entertainer and civil rights activist.\u003c/p>\n\u003cfigure id=\"attachment_11874838\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874838 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-and-Friend-800x983.jpg\" alt=\"\" width=\"800\" height=\"983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-800x983.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-1020x1253.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-1250x1536.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend-1667x2048.jpg 1667w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-and-Friend.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore (right), with a friend, sometime in the early ’30s. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Juanita returned to California after the death of her mother, and it was then that she began to pursue acting. “She started out in, they called it, Black cinema or\u003ca href=\"https://www.npr.org/sections/codeswitch/2016/03/04/469149240/restored-movies-by-african-american-filmmakers-find-new-audiences\"> race movies,\u003c/a>” Arnett says. These were films made by Black filmmakers featuring primary Black casts for Black audiences. “But these were all movies that you aren’t getting credit for, for being a Hollywood star yet.\u003cem>” \u003c/em>\u003c/p>\n\u003cp>Her first appearance in a mainstream movie came in the 1949 film, “Pinky,” in which she had a few lines as a nurse. Many of the roles available to her were based on negative stereotypes, Arnett says.\u003c/p>\n\u003cp>“She once said she was from the boudoir to the jungle,” he says, “In other words, she played a maid to a savage. And that was her early career.” Those were the roles available to Black women at the time, says Arnett, but Juanita had her limits. “One thing she wouldn’t do is play the mammy role or the buffoon roles. She would not do those, and those that did became very successful. But she refused to do those.”\u003c/p>\n\u003cp>It wasn’t until 1959 that Juanita got her big break when she was cast in the drama, “Imitation of Life,” alongside Lana Turner and Susan Kohner. Juanita plays Annie, a woman whose light-skinned daughter rejects her Black identity, to live her life passing as white.\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/-_ax1pt8zp0'\n title='//www.youtube.com/embed/-_ax1pt8zp0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I remember that it was a very emotional picture,” Arnett says, “I once was asked by a friend of mine who was older, ‘Did you cry during Imitation of Life?’ I said, ‘No!’ I didn’t want him to think I cried. But yes,” Arnett admits, laughing, “I cry even today. And I cried then.”\u003c/p>\n\u003cp>During a 1995 interview with Turner Classic Movies, Juanita Moore remembered what the film’s producer, Ross Hunter, told her when she got the part: “’Juanita,’ he said, ‘I’ve put my neck out for you. If you’re no good, the picture is not gonna be any good.’”\u003c/p>\n\u003cfigure id=\"attachment_11874895\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874895 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-800x1234.jpg\" alt=\"\" width=\"800\" height=\"1234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1020x1573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-996x1536.jpg 996w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1328x2048.jpg 1328w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-1920x2960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/Juanita-with-Ross-and-Sammy-scaled.jpg 1660w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita with Ross Hunter, the producer of ‘Imitation of Life,’ and Sammy Davis Jr. Sammy was a friend of Juanita’s, and stopped by the set for a visit. Photo courtesy Arnett Moore \u003ccite>(Courtesy of Arnett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was significant pressure,” Arnett says, “Because really that was her coming out too. She had been in movies prior to that, playing small parts and some uncredited parts. But this was her opportunity to bust out at 44-years-old.”\u003c/p>\n\u003cp>The film was a success and Juanita received an Academy Awards nomination for Best Supporting Actress. She became the fifth Black actor ever to be nominated for an Oscar. Although she didn’t win, Juanita hoped she would get cast in more leading roles. But the offers never came. She didn’t work for a year after that.\u003c/p>\n\u003cp>“I didn’t want to carry the trays anymore,” recalled Juanita during the 1995 interview. “I knew that was the only kind of job that I was going to get. I knew that, but I did not want to do that. So I don’t know if being nominated helped me or not.”\u003c/p>\n\u003cp>But true to her passion, Juanita never quit acting. She went on to perform in mostly small roles. Her last role was in 2000, as a grandmother in Disney’s “The Kid” with Bruce Willis.\u003c/p>\n\u003cp>She died just before New Year’s Day 2014, at the age of 99.\u003c/p>\n\u003cfigure id=\"attachment_11874843\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11874843 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/Juanita-Laughing-1950s-800x995.jpg\" alt=\"\" width=\"800\" height=\"995\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Juanita Moore in the 1950s. Photo courtesy Arnett Moore\u003c/figcaption>\u003c/figure>\n\u003cp>Arnett says his aunt never talked much about her career when he was a kid growing up in LA.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> He’s had to uncover much of her professional history himself after her death, including digging up hundreds of photos. A three-inch-thick binder holds much of the information he’s found about his aunt, and many family photos too. Framed portraits of her sit in his living room. His affection and admiration for her is clear.\u003c/p>\n\u003cp>“I’m very proud of her,” he says, “She had a lot of obstacles, the biggest one being racism … she’s a star without a star.”\u003c/p>\n\u003cp>Arnett recalls a conversation he had with Juanita just a few months before her death.\u003c/p>\n\u003cp>“I said, Nita, do you want a star on the Hollywood Walk of Fame? And she says, ‘If you think I deserve one, baby.’ From that point on, I did everything I could to look and research and see how she could earn a star on the Hollywood Walk of Fame.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "MusiKaravan: Bringing Tunes and Human Bonding to California’s Countryside",
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"content": "\u003cp>A little red 1971 Volkswagen bus pulls up to the driveway of a farm in the countryside of California. Two violinists pop out. They’re exhausted from being on the road for hours, they need a shower, as well as a place to park overnight, but their eyes are sparkling with excitement.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Etienne Gara, MusiKaravan violinist\"]'It’s about breaking that wall that we have, bond together, and create stories.'[/pullquote]Concert violinists Etienne Gara and YuEun Kim hit the road during the height of the pandemic, driving through our divided states, bringing music to farmers, winemakers and anyone they would meet along the way, including turkeys and even ostriches.\u003c/p>\n\u003cp>\u003ca href=\"http://deliriummusicum.com/projects-without-borders/musikaravan/\" target=\"_blank\" rel=\"noopener noreferrer\">MusiKaravan\u003c/a> emerged as a side project of \u003ca href=\"https://deliriummusicum.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Delirium Musicum\u003c/a>, a Los Angeles-based string chamber orchestra. Gara is a French Hungarian violinist, artistic director and founder of Delirium Musicum. He recorded his \"French Recital\" CD on a 1714 Leonora Jackson Stradivarius, appeared on Leonard Cohen’s last album and was recently named artist in residence at \u003ca href=\"https://www.thesoraya.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Soraya\u003c/a>, a 1,700 seat state-of-the-art venue in Los Angeles. Kim is a Korean violinist, part of Delirium Musicum and an international competition winner with over 6 million views on YouTube.\u003c/p>\n\u003cp>Their mission is simple: to bring joy and human bonding through music. And in a time when our states are more divided than ever, they believe music can bring us a little closer.\u003c/p>\n\u003cp>“Music is going to save the world,” Gara said. “We all have the same dreams, we all have the same worries, we all have the same everything in life, no matter what political, social, religious background you have. And it’s about breaking that wall that we have, bond together and create stories.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q-XGS6_4clo\u003c/p>\n\u003cp>Becoming traveling musicians on the road was far from what the two violinists had envisioned back in March 2020. Delirium Musicum was in full swing. They were getting ready for tours, preparing for a recording session with a major record label and they were just about to play a concert at the Wallis Annenberg Center for the Performing Arts in Beverly Hills.\u003c/p>\n\u003cp>“We were really looking forward to it,” Gara said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2bmFgGOfOEs\u003c/p>\n\u003cp>Then the pandemic hit, and everything stopped. Concert halls suddenly went silent. Like other performers and musicians this past year, Gara and Kim found themselves without any opportunities for live performances. But they couldn’t just stop making music.\u003c/p>\n\u003cp>“You cannot stop life,” Gara said. “It’s like, I still need to create, otherwise I cannot live.”\u003c/p>\n\u003cp>From this isolation, and necessity to create, an idea was born: What if they could continue performing, but outdoors and socially distanced?\u003c/p>\n\u003cp>As part of Delirium Musicum, they created a courtyard concert series in April, where they would play in the center of their apartment building in East Hollywood every Sunday. The music brought people out of their homes. From the elderly to parents with children, all kinds of listeners stepped out onto their balconies to experience live music.\u003c/p>\n\u003cp>“We realized it was so important for the people,” Gara said. “It was like a medical cure for them emotionally and physically.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fDpebnb4Bpg\u003c/p>\n\u003cp>Gara and Kim said they felt a sense of purpose in bringing music as a way to connect to people who were now spending their days isolated in their apartments. They started to think about how they could bring music to people all over America, not just Los Angeles.\u003c/p>\n\u003cp>That’s when Gara came up with the crazy idea to hit the road. Ever since he was a child, he said he always dreamed of traveling, and not being tied to a single place. Though Kim was hesitant at first, it didn’t take long before she was on board, too.\u003c/p>\n\u003cp>“I never imagined that I’m going to be living in a bus,” Kim said. “When he talked about this idea, of course, I thought, ‘It’s crazy!’ ”\u003c/p>\n\u003cp>Without a schedule full of concerts and tours, Kim agreed that they should take the opportunity to experience something different.\u003c/p>\n\u003cp>In June 2020, Gara and Kim started hunting for a vehicle. They scrolled through hundreds of buses and vans on Craigslist, stumbling upon some rustier than others, until they found the one: a little 1971 VW bus — a vehicle with personality, the third character to their story.\u003c/p>\n\u003cfigure id=\"attachment_11874563\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874563\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-1536x1152.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim after they bought their 1971 VW bus in Los Angeles. \u003ccite>(Courtesy of MusiKaravan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They spent about a month and a half working on the bus to bring it into shape. The metal plates of the chassis were rusted, there were bumps and scratches and the paint was faded, but after some mechanical repairs, a new set of curtains and a coat of bright red paint, the bus was ready.\u003c/p>\n\u003cp>“It’s extremely cute,” Gara said. “It triggers imagination, it triggers stories because most people have a story about a VW bus about 50 years ago, and nobody can throw you out when they see this cute candy on wheels.”\u003c/p>\n\u003cp>They named him Boris. And finally, in August, they hit the road.\u003c/p>\n\u003cfigure id=\"attachment_11874565\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874565\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-800x1067.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-1020x1360.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-160x213.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-1152x1536.jpeg 1152w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3.jpeg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim in Paso Robles. \u003ccite>(Lathan J.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the start of their own great American road trip — two violinists from foreign countries, traveling across the states from one place to the next, trying to bring people together.\u003c/p>\n\u003cp>“I like being on the road, I feel good,” Gara said. “I never thought about it as me being French or not from here. I always felt that I’m coming to people — they don’t know my background, I don’t know their background, but I see them just as people.”\u003c/p>\n\u003cp>Meeting people along the way gave them a sense of place in America, as they carried on this American tradition that is rooted in history. Their journey is reminiscent of the 1960s, the hippie era, when young people hit Route 66 searching for independence and their sense of identity.\u003c/p>\n\u003cp>“Where do I belong? Am I French? Am I Hungarian? American? European?” Gara pondered. “Where do I really come from? Where do I go? It became normal to be a foreigner, to be on the road.”\u003c/p>\n\u003cp>For Kim, being on the road helped her cope with grief. Her father passed away last year just as they had left Los Angeles and to start touring.\u003c/p>\n\u003cp>“Because of what happened to my father, the beginning was really hard,” Kim said.\u003c/p>\n\u003cp>After receiving the call about Kim’s father, Kim and Gara immediately returned to Los Angeles. Kim boarded a flight to South Korea to visit her family and attend her father’s funeral, which ended up delaying their MusiKaravan plans for a month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When she returned, still mourning, she said, “But it was more helpful for me to travel and meet new people and [to experience] this crazy time on the road.”\u003c/p>\n\u003cp>There’s a kind of freedom in not knowing where the road would take them next. As Gara and Kim drove through cinematic landscapes, across deserts and forests, they experienced tall redwood trees in Northern California, the glistening of the sun rising in the mornings and snow-capped mountain tops. The scenery helped them see life from a different perspective.\u003c/p>\n\u003cp>“This is so beautiful and stunning, and at the same time, I’m so small,” Kim said. “Compared to this Earth, I’m nothing. I really like that feeling.”\u003c/p>\n\u003cp>Living in a tiny and cramped bus is not easy. Gara and Kim said they can only afford to keep only the essentials inside of their bus, like their violins, filming equipment, a small sink, a water tank, propane and a small ice box where they store their food. Their driveway hosts also generously gifted them meat from their farms, as well as fresh organic fruits and vegetables, and bottles of wine, they said. They even butchered an old rooster one time, which they turned into coq au vin.\u003c/p>\n\u003cp>“It’s like a Michelin star restaurant just in the bus!” Gara exclaimed.\u003c/p>\n\u003cfigure id=\"attachment_11874566\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874566\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim in Oceanside, California. \u003ccite>(Courtesy of MusiKaravan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bus has taken Gara and Kim to farms, groves, vineyards and even an Orthodox Christian monastery. Along the road, they’ve met all kinds of people. From Trump supporters to liberals to war veterans and hippies who traveled in VW buses years ago, people from all political, religious and social backgrounds have welcomed Gara and Kim into their homes.\u003c/p>\n\u003cp>“They open their door no matter what,” Kim said. “They hear our story, what we’re doing at this time, and they immediately feel that, ‘Oh, I need to do something good, too.’”\u003c/p>\n\u003cp>[aside postID=news_11873038 hero='https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48979_IMG_1077-qut-1020x588.jpg']In Napa, Gara and Kim said they experienced a special moment of bonding between neighboring households. Their driveway hosts were pro-Trump, and they invited neighbors from a block away who were old hippies to listen to their garden concert.\u003c/p>\n\u003cp>“They were both surprised to find themselves in the same place, but it was courteous, it was nice,” Gara said. “They all enjoyed each other, and I think they saw that, you know, we’re human beings before everything.”\u003c/p>\n\u003cp>Another memorable moment was during the first month of their trip in Southern California. From Oceanside they drove north, through Ventura County heading toward the farms outside of Ojai, 80 miles north of Los Angeles. They parked Boris between vast groves of citrus, walnut and olive trees, near the farm of the Ojai Olive Oil Company.\u003c/p>\n\u003cp>They met with Alice Asquith, owner of the company. After 14 years working for the Los Angeles Philharmonic and LA Opera, Asquith moved to Ojai where she eventually got involved with the family business.\u003c/p>\n\u003cp>When Gara and Kim arrived at the grove, Asquith gave them a tour, shared her knowledge of olive trees and offered them a variety of olive oils to try. In exchange, they gave her live music. Behind the foothills, in a little canyon by a pond, Gara and Kim set up their music stands. They performed a concert for a little audience of five. Their program included their arrangement of Chopin’s \"Nocturne Op.9 No.2\" for two violins.\u003c/p>\n\u003cfigure id=\"attachment_11874567\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874567\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim performing in a canyon for Alice Asquith and friends at the Ojai Olive Oil Company. \u003ccite>(Courtesy of MusiKaravan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like somebody took them from some magical place and plonked them down there, there they were,” Asquith said. “And they could have been anywhere, you know? It was about the music, that’s all it was, it was about music.”\u003c/p>\n\u003cp>And down at the grove, the workers could hear the music, too.\u003c/p>\n\u003cp>“Everybody stopped and listened,” Asquith said. “And they all said the same thing — it was like time stopped.”\u003c/p>\n\u003cp>Whether Gara and Kim’s audience is a full concert hall or just several people, they say their goal is the same: to have a direct, intimate connection with the audience.\u003c/p>\n\u003cp>“If we play with our heart, then they will love it, whatever we play,” Kim said.\u003c/p>\n\u003cp>“So, it gives [us] faith in humanity,” Gara said. “People are compassionate, people are respectful, people have dreams and when you put all this together it’s pretty amazing to be alive.”\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"YuEun Kim, MusiKaravan violinist\"]'If we play with our heart, then they will love it, whatever we play.'[/pullquote]Although MusiKaravan began as a response to a deadly pandemic, Gara and Kim said they’re just getting started. Without the barriers of the pandemic, Gara believes MusiKaravan can go further, with more buses, bringing other musicians from Delirium Musicum, and possibly inviting dozens of listeners into their driveway host’s backyard concerts instead of three people.\u003c/p>\n\u003cp>“It feels like it’s in the continuity of what was meant to do,” Gara said. “I think it will be part of the Delirium experience”\u003c/p>\n\u003cp>The little red bus has taken Gara and Kim from Southern California all the way to the Canadian border this past year. But there’s one thing that remains constant — the music and the power it has in bringing people together.\u003c/p>\n\u003cp>Gara and Kim will post updates on their journey to Instagram \u003ca href=\"https://www.instagram.com/musikaravan/\" target=\"_blank\" rel=\"noopener noreferrer\">@MusiKaravan\u003c/a> and their \u003ca href=\"https://www.youtube.com/channel/UCbD3bfbQdhaO6UbZeOmJxGA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a> throughout the summer.\u003c/p>\n\u003cp>\u003cem>This story is part of a collaboration between The California Report and students of the \u003ca href=\"https://annenberg.usc.edu/\">Annenberg School at USC.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Concert violinists Etienne Gara and YuEun Kim hit the road during the height of the pandemic, driving through our divided states, bringing music to farmers, winemakers and anyone they would meet along the way, including turkeys and even ostriches.\u003c/p>\n\u003cp>\u003ca href=\"http://deliriummusicum.com/projects-without-borders/musikaravan/\" target=\"_blank\" rel=\"noopener noreferrer\">MusiKaravan\u003c/a> emerged as a side project of \u003ca href=\"https://deliriummusicum.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Delirium Musicum\u003c/a>, a Los Angeles-based string chamber orchestra. Gara is a French Hungarian violinist, artistic director and founder of Delirium Musicum. He recorded his \"French Recital\" CD on a 1714 Leonora Jackson Stradivarius, appeared on Leonard Cohen’s last album and was recently named artist in residence at \u003ca href=\"https://www.thesoraya.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Soraya\u003c/a>, a 1,700 seat state-of-the-art venue in Los Angeles. Kim is a Korean violinist, part of Delirium Musicum and an international competition winner with over 6 million views on YouTube.\u003c/p>\n\u003cp>Their mission is simple: to bring joy and human bonding through music. And in a time when our states are more divided than ever, they believe music can bring us a little closer.\u003c/p>\n\u003cp>“Music is going to save the world,” Gara said. “We all have the same dreams, we all have the same worries, we all have the same everything in life, no matter what political, social, religious background you have. And it’s about breaking that wall that we have, bond together and create stories.”\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/Q-XGS6_4clo'\n title='//www.youtube.com/embed/Q-XGS6_4clo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Becoming traveling musicians on the road was far from what the two violinists had envisioned back in March 2020. Delirium Musicum was in full swing. They were getting ready for tours, preparing for a recording session with a major record label and they were just about to play a concert at the Wallis Annenberg Center for the Performing Arts in Beverly Hills.\u003c/p>\n\u003cp>“We were really looking forward to it,” Gara said.\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/2bmFgGOfOEs'\n title='//www.youtube.com/embed/2bmFgGOfOEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then the pandemic hit, and everything stopped. Concert halls suddenly went silent. Like other performers and musicians this past year, Gara and Kim found themselves without any opportunities for live performances. But they couldn’t just stop making music.\u003c/p>\n\u003cp>“You cannot stop life,” Gara said. “It’s like, I still need to create, otherwise I cannot live.”\u003c/p>\n\u003cp>From this isolation, and necessity to create, an idea was born: What if they could continue performing, but outdoors and socially distanced?\u003c/p>\n\u003cp>As part of Delirium Musicum, they created a courtyard concert series in April, where they would play in the center of their apartment building in East Hollywood every Sunday. The music brought people out of their homes. From the elderly to parents with children, all kinds of listeners stepped out onto their balconies to experience live music.\u003c/p>\n\u003cp>“We realized it was so important for the people,” Gara said. “It was like a medical cure for them emotionally and physically.”\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/fDpebnb4Bpg'\n title='//www.youtube.com/embed/fDpebnb4Bpg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gara and Kim said they felt a sense of purpose in bringing music as a way to connect to people who were now spending their days isolated in their apartments. They started to think about how they could bring music to people all over America, not just Los Angeles.\u003c/p>\n\u003cp>That’s when Gara came up with the crazy idea to hit the road. Ever since he was a child, he said he always dreamed of traveling, and not being tied to a single place. Though Kim was hesitant at first, it didn’t take long before she was on board, too.\u003c/p>\n\u003cp>“I never imagined that I’m going to be living in a bus,” Kim said. “When he talked about this idea, of course, I thought, ‘It’s crazy!’ ”\u003c/p>\n\u003cp>Without a schedule full of concerts and tours, Kim agreed that they should take the opportunity to experience something different.\u003c/p>\n\u003cp>In June 2020, Gara and Kim started hunting for a vehicle. They scrolled through hundreds of buses and vans on Craigslist, stumbling upon some rustier than others, until they found the one: a little 1971 VW bus — a vehicle with personality, the third character to their story.\u003c/p>\n\u003cfigure id=\"attachment_11874563\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874563\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-1536x1152.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim after they bought their 1971 VW bus in Los Angeles. \u003ccite>(Courtesy of MusiKaravan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They spent about a month and a half working on the bus to bring it into shape. The metal plates of the chassis were rusted, there were bumps and scratches and the paint was faded, but after some mechanical repairs, a new set of curtains and a coat of bright red paint, the bus was ready.\u003c/p>\n\u003cp>“It’s extremely cute,” Gara said. “It triggers imagination, it triggers stories because most people have a story about a VW bus about 50 years ago, and nobody can throw you out when they see this cute candy on wheels.”\u003c/p>\n\u003cp>They named him Boris. And finally, in August, they hit the road.\u003c/p>\n\u003cfigure id=\"attachment_11874565\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874565\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-800x1067.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-1020x1360.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-160x213.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-1152x1536.jpeg 1152w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3.jpeg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim in Paso Robles. \u003ccite>(Lathan J.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the start of their own great American road trip — two violinists from foreign countries, traveling across the states from one place to the next, trying to bring people together.\u003c/p>\n\u003cp>“I like being on the road, I feel good,” Gara said. “I never thought about it as me being French or not from here. I always felt that I’m coming to people — they don’t know my background, I don’t know their background, but I see them just as people.”\u003c/p>\n\u003cp>Meeting people along the way gave them a sense of place in America, as they carried on this American tradition that is rooted in history. Their journey is reminiscent of the 1960s, the hippie era, when young people hit Route 66 searching for independence and their sense of identity.\u003c/p>\n\u003cp>“Where do I belong? Am I French? Am I Hungarian? American? European?” Gara pondered. “Where do I really come from? Where do I go? It became normal to be a foreigner, to be on the road.”\u003c/p>\n\u003cp>For Kim, being on the road helped her cope with grief. Her father passed away last year just as they had left Los Angeles and to start touring.\u003c/p>\n\u003cp>“Because of what happened to my father, the beginning was really hard,” Kim said.\u003c/p>\n\u003cp>After receiving the call about Kim’s father, Kim and Gara immediately returned to Los Angeles. Kim boarded a flight to South Korea to visit her family and attend her father’s funeral, which ended up delaying their MusiKaravan plans for a month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she returned, still mourning, she said, “But it was more helpful for me to travel and meet new people and [to experience] this crazy time on the road.”\u003c/p>\n\u003cp>There’s a kind of freedom in not knowing where the road would take them next. As Gara and Kim drove through cinematic landscapes, across deserts and forests, they experienced tall redwood trees in Northern California, the glistening of the sun rising in the mornings and snow-capped mountain tops. The scenery helped them see life from a different perspective.\u003c/p>\n\u003cp>“This is so beautiful and stunning, and at the same time, I’m so small,” Kim said. “Compared to this Earth, I’m nothing. I really like that feeling.”\u003c/p>\n\u003cp>Living in a tiny and cramped bus is not easy. Gara and Kim said they can only afford to keep only the essentials inside of their bus, like their violins, filming equipment, a small sink, a water tank, propane and a small ice box where they store their food. Their driveway hosts also generously gifted them meat from their farms, as well as fresh organic fruits and vegetables, and bottles of wine, they said. They even butchered an old rooster one time, which they turned into coq au vin.\u003c/p>\n\u003cp>“It’s like a Michelin star restaurant just in the bus!” Gara exclaimed.\u003c/p>\n\u003cfigure id=\"attachment_11874566\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874566\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim in Oceanside, California. \u003ccite>(Courtesy of MusiKaravan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bus has taken Gara and Kim to farms, groves, vineyards and even an Orthodox Christian monastery. Along the road, they’ve met all kinds of people. From Trump supporters to liberals to war veterans and hippies who traveled in VW buses years ago, people from all political, religious and social backgrounds have welcomed Gara and Kim into their homes.\u003c/p>\n\u003cp>“They open their door no matter what,” Kim said. “They hear our story, what we’re doing at this time, and they immediately feel that, ‘Oh, I need to do something good, too.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In Napa, Gara and Kim said they experienced a special moment of bonding between neighboring households. Their driveway hosts were pro-Trump, and they invited neighbors from a block away who were old hippies to listen to their garden concert.\u003c/p>\n\u003cp>“They were both surprised to find themselves in the same place, but it was courteous, it was nice,” Gara said. “They all enjoyed each other, and I think they saw that, you know, we’re human beings before everything.”\u003c/p>\n\u003cp>Another memorable moment was during the first month of their trip in Southern California. From Oceanside they drove north, through Ventura County heading toward the farms outside of Ojai, 80 miles north of Los Angeles. They parked Boris between vast groves of citrus, walnut and olive trees, near the farm of the Ojai Olive Oil Company.\u003c/p>\n\u003cp>They met with Alice Asquith, owner of the company. After 14 years working for the Los Angeles Philharmonic and LA Opera, Asquith moved to Ojai where she eventually got involved with the family business.\u003c/p>\n\u003cp>When Gara and Kim arrived at the grove, Asquith gave them a tour, shared her knowledge of olive trees and offered them a variety of olive oils to try. In exchange, they gave her live music. Behind the foothills, in a little canyon by a pond, Gara and Kim set up their music stands. They performed a concert for a little audience of five. Their program included their arrangement of Chopin’s \"Nocturne Op.9 No.2\" for two violins.\u003c/p>\n\u003cfigure id=\"attachment_11874567\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874567\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim performing in a canyon for Alice Asquith and friends at the Ojai Olive Oil Company. \u003ccite>(Courtesy of MusiKaravan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like somebody took them from some magical place and plonked them down there, there they were,” Asquith said. “And they could have been anywhere, you know? It was about the music, that’s all it was, it was about music.”\u003c/p>\n\u003cp>And down at the grove, the workers could hear the music, too.\u003c/p>\n\u003cp>“Everybody stopped and listened,” Asquith said. “And they all said the same thing — it was like time stopped.”\u003c/p>\n\u003cp>Whether Gara and Kim’s audience is a full concert hall or just several people, they say their goal is the same: to have a direct, intimate connection with the audience.\u003c/p>\n\u003cp>“If we play with our heart, then they will love it, whatever we play,” Kim said.\u003c/p>\n\u003cp>“So, it gives [us] faith in humanity,” Gara said. “People are compassionate, people are respectful, people have dreams and when you put all this together it’s pretty amazing to be alive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although MusiKaravan began as a response to a deadly pandemic, Gara and Kim said they’re just getting started. Without the barriers of the pandemic, Gara believes MusiKaravan can go further, with more buses, bringing other musicians from Delirium Musicum, and possibly inviting dozens of listeners into their driveway host’s backyard concerts instead of three people.\u003c/p>\n\u003cp>“It feels like it’s in the continuity of what was meant to do,” Gara said. “I think it will be part of the Delirium experience”\u003c/p>\n\u003cp>The little red bus has taken Gara and Kim from Southern California all the way to the Canadian border this past year. But there’s one thing that remains constant — the music and the power it has in bringing people together.\u003c/p>\n\u003cp>Gara and Kim will post updates on their journey to Instagram \u003ca href=\"https://www.instagram.com/musikaravan/\" target=\"_blank\" rel=\"noopener noreferrer\">@MusiKaravan\u003c/a> and their \u003ca href=\"https://www.youtube.com/channel/UCbD3bfbQdhaO6UbZeOmJxGA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a> throughout the summer.\u003c/p>\n\u003cp>\u003cem>This story is part of a collaboration between The California Report and students of the \u003ca href=\"https://annenberg.usc.edu/\">Annenberg School at USC.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "The Year When Singing Became Dangerous | KQED",
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"content": "\u003cp>There’s nothing Alyse Whitney likes to do more than hit a karaoke bar with her friends, have a few drinks and sing her heart out.\u003c/p>\n\u003cp>“Feeling the presence of being kind of a rock star for the night is really fun and makes me realize that, hey, I’m good at something. This is my thing,” the Los Angeles resident told KQED in a recent video interview.\u003c/p>\n\u003cp>The last time Whitney went out karaokeing was right before the pandemic shut down all the bars. She and her friend were the only customers in the place.\u003c/p>\n\u003cp>“We sang almost all of Celine’s [Dion] catalog. We changed the words to Enrique Iglesias’ ‘Escape’ to say, ‘You can run, you can hide, but you can’t escape COVID!’ ” recalled Whitney. “And we didn’t realize it was going to be such a big deal and how impactful that night would have been as a last hurrah.”\u003c/p>\n\u003cfigure id=\"attachment_11873303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11873303 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alyse Whitney enjoying a night out at a karaoke bar. \u003ccite>(Courtesy Alyse Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whitney and her friend staggered out of there at four in the morning. They closed the place down — literally, as it turned out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This was March 6, 2020,” Whitney said. “And my karaoke drought started March 7.”\u003c/p>\n\u003cp>The drought Whitney is talking about didn’t just affect people who like sing in karaoke bars. COVID-19 impacted vocalists across the state — both amateur and professional — in community centers, schools, churches, recording studios, theaters, clubs and concert halls.\u003c/p>\n\u003cp>“Last year was going to be a pretty big year in terms of my singing engagements,” said vocalist, singing teacher and actress \u003ca href=\"https://cjsings.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Candace Johnson\u003c/a>. “So I was really looking forward to the [concert] calendar. And then — BOOM — it was all gone.”\u003c/p>\n\u003cfigure id=\"attachment_11873304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11873304 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48985_candace-qut-800x441.jpg\" alt=\"\" width=\"800\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-1020x563.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-1536x847.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer and teacher Candace Johnson leading a class on Zoom during the pandemic. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The blow to singers across the state wasn’t just financial as their gigs dried up. They also mourned the loss of connection and community. And on top of that, they were forced to confront a devastating truth: This beloved, healthy, everyday activity had become a killer.\u003c/p>\n\u003cp>“We know that COVID-19 is caused by a transmission of the virus primarily through aerosol particles, and about three times as many aerosols are emitted during singing compared to talking,” said \u003cspan style=\"font-weight: 400\">UC Davis \u003c/span>\u003cspan style=\"font-weight: 400\">civil and environmental engineering professor \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://faculty.engineering.ucdavis.edu/cappa/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Cappa\u003c/a>, who’s been studying how COVID-19 is spread. “\u003c/span>This means that singing is inherently a riskier activity.”\u003c/p>\n\u003cp>Most singing in public stopped. But it didn’t go away entirely.\u003c/p>\n\u003cp>Throughout this pandemic, KQED has been chronicling the journeys of individuals and singing groups across California. Read on to find out how singing transformed over the past year, and went from almost disappearing entirely, to helping many across the state maintain solidarity, social purpose and a sense of humor through these dark, dark times.\u003c/p>\n\u003ch3>\u003cstrong>March 2020\u003c/strong>\u003c/h3>\n\u003cp>On the morning of March 11, 2020, Americans awoke to the latest in a deluge of coffee-spilling headlines: Despite practicing social distancing, \u003ca href=\"https://www.cnn.com/2020/05/13/us/coronavirus-washington-choir-outbreak-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">53 members of a community choir in Washington state\u003c/a> tested positive for COVID-19 and started showing symptoms of the coronavirus after attending a rehearsal the previous evening. Two members died.\u003c/p>\n\u003cp>At the time this superspreader event occurred, COVID-19 tests were hard to come by, and health officials didn’t truly know how the virus was spread. In the early days, public messaging focused on things like telling people to avoid shaking hands with others, disinfecting surfaces and keeping their fingers off their faces.\u003c/p>\n\u003cp>Regardless, the wildfire-like spread of the coronavirus over a couple of hours of choral singing inside a Washington church was enough to send shockwaves throughout the singing community in California.\u003c/p>\n\u003cfigure id=\"attachment_11873305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873305\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Los Angeles Master Chorale performed its last live concert on Jan. 26, 2020. \u003ccite>(Jamie Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was a real warning shot for us,” said \u003ca href=\"https://lamasterchorale.org/jean-davidson\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Davidson\u003c/a>, president and CEO of the \u003ca href=\"https://lamasterchorale.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles Master Chorale\u003c/a>, one of the most high-profile classical vocal ensembles in the state. “And we erred on the side of caution and canceled all of our rehearsals and performances.”\u003c/p>\n\u003cp>The chorale’s last live, in-person concert took place on Jan. 26, 2020. Its last rehearsal was March 4, 2020.\u003c/p>\n\u003ch3>\u003cstrong>May 2020\u003c/strong>\u003c/h3>\n\u003cp>In those first desolate and bewildering months of lockdown, singing retreated almost entirely indoors and became mostly a solitary act.\u003c/p>\n\u003cp>But despite the extraordinary circumstances and significant health risks, singers weren’t completely willing to give up on the idea of rehearsing together or even singing in public. [pullquote size=\"medium\" align=\"right\" citation=\"J. T. Williams\"]‘The audience has helped me get through very dark and difficult days.’[/pullquote]\u003c/p>\n\u003cp>Last May, in San Francisco, bass-baritone J. T. Williams started appearing on their balcony most late afternoons to sing opera arias. They soon started streaming the concerts on \u003ca href=\"https://www.facebook.com/OperaFromTheBalcony/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>.\u003c/p>\n\u003cp>J. T. said they’d been struggling with suicidal thoughts near the start of the pandemic. They found healing in the smiles, waves and applause of the people who listened from neighboring homes or stopped by while out walking their dogs.\u003c/p>\n\u003cfigure id=\"attachment_11873306\" class=\"wp-caption aligncenter\" style=\"max-width: 552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11873306 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48983_J-T-Williams-qut-e1621018557411.jpg\" alt=\"\" width=\"552\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48983_J-T-Williams-qut-e1621018557411.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48983_J-T-Williams-qut-e1621018557411-160x174.jpg 160w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003cfigcaption class=\"wp-caption-text\">J. T. Williams started singing opera arias on their balcony soon after the pandemic hit. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The audience has helped me get through very dark and difficult days,” Williams said.\u003c/p>\n\u003cp>Meanwhile, singers were starting to figure out how to make music together online.\u003c/p>\n\u003cp>Many turned to platforms like \u003ca href=\"https://zoom.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Zoom\u003c/a> and \u003ca href=\"https://hangouts.google.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Google Hangouts\u003c/a>. But they were not built for making music. The delays caused by varying data transfer speeds made it almost impossible for people in different locations to sing together in sync.\u003c/p>\n\u003cp>Groups like the \u003ca href=\"https://www.piedmontchoirs.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Piedmont East Bay Children’s Choir\u003c/a> forged ahead with online rehearsals, even though it was slow going.\u003c/p>\n\u003cp>In a practice held via Zoom KQED sat in on in May 2020, the group’s artistic director, \u003ca href=\"https://www.piedmontchoirs.org/staff/eric-tuan\" target=\"_blank\" rel=\"noopener noreferrer\">Eric Tuan\u003c/a>, tried to get the young singers to build a chord from the bottom up. “Actually mute yourselves,” he was forced to admit. “It’s not going to work.”\u003c/p>\n\u003cfigure id=\"attachment_11810148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11810148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg\" alt=\"Piedmont East Bay Children's Choir artistic director Eric Tuan leads a virtual rehearsal via Zoom on March 30, 2020.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Piedmont East Bay Children’s Choir Artistic Director Eric Tuan leads a virtual rehearsal via Zoom. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for others, virtual collaboration wasn’t even an option.\u003c/p>\n\u003cp>Singing teacher \u003ca href=\"http://www.bethwilmurt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Wilmurt\u003c/a> spent the early months of the COVID-19 stay-at-home orders making short instructional videos for the young members of the \u003ca href=\"https://sfcmc.org/youth/group-classes-and-ensembles/#childrens-chorus\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Community Music Center Children’s Chorus\u003c/a> she leads.\u003c/p>\n\u003cp>“Hi everybody. It’s just me and my ukulele,” Wilmurt said at the top of one of her very first videos. “I thought you could sing with me.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"CMC Children's Chorus: Warm-up and "Ride This Train" with Beth Wilmurt\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/7B7WCRSwt8I?start=223&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Many of the 8-12 year-olds in Wilmurt’s group come from low-income households. They don’t all have access to internet connections fast enough for online meetups. In the absence of in-person get-togethers for singing, Wilmurt’s videos provided the students with a way to learn songs in their own time from home. [pullquote size=\"medium\" align=\"right\" citation=\"Beth Wilmurt\"]‘It’s palpable, the energy that choirs bring singing together, there’s just nothing like it. And, we can’t do it with the technology yet.’[/pullquote]\u003c/p>\n\u003cp>“Days can really blend one into the other here,” said Yaron Milgrom, the father of three young singers in Wilmurt’s chorus. “Music and singing songs, it’s just part of keeping a sense of normalcy.”\u003c/p>\n\u003cp>Wilmurt has been teaching this children’s choir for over 20 years. She said what keeps her sticking with it is the sense of connection the kids feel when they get to meet up in person to sing.\u003c/p>\n\u003cp>“It’s palpable, the energy that choirs bring singing together, there’s just nothing like it,” Wilmurt said. “And, we can’t do it with the technology yet.”\u003c/p>\n\u003ch3>\u003cstrong>June 2020\u003c/strong>\u003c/h3>\n\u003cp>As the pitiless Spring dragged on, it became increasingly clear that breaking into song around others was one of the most unsafe things a person could do.\u003c/p>\n\u003cp>Even though California was beginning to emerge from the shelter-in-place orders, infections were on the rise. The state’s \u003ca href=\"https://www.cdph.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">Department of Public Health\u003c/a> started \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/CDPH%20Document%20Library/COVID-19/Guidance-for-the-Prevention-of-COVID-19-Transmission-for-Gatherings--en.pdf#search=singing\" target=\"_blank\" rel=\"noopener noreferrer\">issuing warnings\u003c/a> against singing in public, and it continued to do this throughout the year.\u003c/p>\n\u003cp>But when Californians took to the streets in protest after George Floyd was murdered by a policeman in Minneapolis, they sang anyway.\u003c/p>\n\u003cp>In the San Francisco Bay Area, people marched to the late Oakland-born rapper Mac Dre’s “Feelin’ Myself.”\u003c/p>\n\u003cp>In L.A., they sang “Alright” by Kendrick Lamar. The song has been embraced at Black Lives Matter rallies around the country in recent years because it speaks to hope in difficult times.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"LA riots 2020 GOERGE Floyd Los Angeles protest Kendrick Lamar we’re gonna be all right turn up\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/M9sDwLV_eQc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Also in June, in the wake of Floyd’s death, Vallejo-born R&B artist \u003ca href=\"https://www.instagram.com/hermusicofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">H.E.R.\u003c/a> released the song “I Can’t Breathe.” The singer’s gut-wrenching performance won the \u003ca href=\"https://www.grammy.com/grammys/news/her-wins-song-of-the-year-2021-winner\" target=\"_blank\" rel=\"noopener noreferrer\">Song of the Year Award at this year’s Grammys\u003c/a>.\u003c/p>\n\u003cp>Around the same time as many Californians took to the streets, many others stayed indoors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.novajimenez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nova Jimenez\u003c/a> was among them. The singer and vocal music teacher said she felt so sad at the start of the pandemic that she just locked herself in her room and sang. “It felt like the end of the world,” she said.\u003c/p>\n\u003cp>One day, Jimenez had an idea.\u003c/p>\n\u003cp>“Here I am singing by myself, and I thought, well, maybe, maybe someone wants to hear me, I don’t know,” she said.\u003c/p>\n\u003cp>As a professional singer, Jimenez realized in that moment maybe she could use her talent to help others overcome their feelings of exhaustion, loneliness and despair. So she placed an online ad offering her services for free to front-line workers, or anyone homebound or isolated due to the pandemic, and in need of a little uplift.\u003c/p>\n\u003cp>The vocalist has performed nearly 100 “\u003ca href=\"https://www.novajimenez.com/news\" target=\"_blank\" rel=\"noopener noreferrer\">Sidewalk Serenades\u003c/a>” through the pandemic for front-line workers and people who are isolated in the Bay Area.\u003c/p>\n\u003cp>One Sunday, KQED caught up with Jimenez as she was serenading elders outside a retirement home called \u003ca href=\"https://channinghouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Channing House\u003c/a> in Palo Alto.\u003c/p>\n\u003cfigure id=\"attachment_11873310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873310\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS47195_nova-1-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nova Jimenez performs a sidewalk serenade outside Channing House in Palo Alto. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello, Channing House!” she said after setting up her microphone, music stand and portable amp on the sidewalk across from the drab concrete building. “Oh, dear friends, I’m so happy to see you!”\u003c/p>\n\u003cp>Dozens of residents appeared on their balconies and in the parking lot to listen. “It’s so exciting to have Nova come and sing for us,” said resident Nancy Fiene.\u003c/p>\n\u003cp>Wearing a dress emblazoned with red peonies and white daisies, Jimenez exuded the spirit of warmth and romance as she sang old-time favorites like “Solamente Una Vez” and “La Vie en Rose.”\u003c/p>\n\u003cp>Life has been far from rosy for the residents of Channing House this past year. They’ve been rocked by two COVID-19 outbreaks and five people have died. It’s been a time of loss and confinement. Fiene said Jimenez’s performances at Channing House have provided a break from all of that.\u003c/p>\n\u003cp>“She’s got a lot of pizzazz,” said Fiene. “It’s a little bit of a breath of fresh air from the outside world,” said Fiene’s husband, Tom. “We’ve been pretty well isolated here for months.”\u003c/p>\n\u003cfigure id=\"attachment_11873311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873311\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Channing House residents Nancy Fiene, Tom Fiene and George Young. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To add to the sense of community, Jimenez’s concerts often end with singalongs.\u003c/p>\n\u003cp>“I want you to feel like you’re going to just let it out and sing to the heavens!” she said.\u003c/p>\n\u003cp>The singer launched into her rendition of “Brand New Day” from the musical “The Wiz.”\u003c/p>\n\u003cp>Nearly everyone joined in for the choruses. They waved their arms and clapped. Some even danced around in the parking lot.\u003c/p>\n\u003cp>Afterward, the Channing House parking lot erupted in claps, cheers and cries of “Encore! Encore!”\u003c/p>\n\u003cp>“Thank you Channing House. Te amo! Te amo! I love you!” said Jimenez. Then the performer packed up her gear and the residents went back inside, maybe feeling just a bit more hopeful about the future.\u003c/p>\n\u003ch3>\u003cstrong>July 2020\u003c/strong>\u003c/h3>\n\u003cp>In July, state officials put \u003ca href=\"https://files.covid19.ca.gov/pdf/guidance-places-of-worship.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">limitations on places of worship\u003c/a> after they were the site of several superspreader events. Indoor services had to be restricted to a maximum of 25% capacity or 100 people, whichever is lower, and there was a total ban on singing.\u003c/p>\n\u003cp>The new rules incensed \u003ca href=\"https://www.actsfullgospel.org/bishop\" target=\"_blank\" rel=\"noopener noreferrer\">Robert L. Jackson\u003c/a>, senior pastor of \u003ca href=\"https://www.actsfullgospel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Acts Full Gospel Church\u003c/a> in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_11873727\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873727\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48990_bishop-bob-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48990_bishop-bob-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48990_bishop-bob-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48990_bishop-bob-qut.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Acts Full Gospel Church senior pastor Robert L. Jackson. \u003ccite>(Courtesy Acts Full Gospel Church)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like trying to play basketball without a basketball. It’s like playing football without a football,” Jackson said. “You just can’t have a service, a worship service to God, without singing.”\u003c/p>\n\u003cp>Like many other faith leaders, Jackson moved his services online and outdoors. He said singing was a regular part of his Sunday “drive-in” services out in the church parking lot.\u003c/p>\n\u003cp>“People were singing in their cars,” said Jackson. “Most of them had the windows down.”\u003c/p>\n\u003ch3>\u003cstrong>August 2020\u003c/strong>\u003c/h3>\n\u003cp>Live vocal performances continued to be a rarity for the rest of last year.\u003c/p>\n\u003cp>But Californians started to come up with creative ways, often involving technology, to keep singing going as the pandemic restrictions dragged on.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=j63FFPh-loo\">https://www.youtube.com/watch?v=j63FFPh-loo\u003c/a>\u003c/p>\n\u003cp>Starting last August, \u003ca href=\"https://www.fox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fox\u003c/a> managed to tape two seasons of “\u003ca href=\"https://www.fox.com/the-masked-singer/\" target=\"_blank\" rel=\"noopener noreferrer\">The Masked Singer\u003c/a>” in Los Angeles using cleverly edited virtual audiences. The hit reality TV show turned out to be the ultimate entertainment for these pandemic times with its mask-wearing celebrity contestants, like an appearance by Long Beach native and Olympic snowboarder \u003ca href=\"https://www.teamusa.org/us-ski-and-snowboard/athletes/Chloe-Kim\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Kim\u003c/a>, disguised as a cute, green jellyfish.\u003c/p>\n\u003ch3>\u003cstrong>September 2020\u003c/strong>\u003c/h3>\n\u003cp>In September, the Silicon Valley-based \u003ca href=\"https://ragazzi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ragazzi Boys Chorus\u003c/a> went from struggling to sing together during remote rehearsals to being able to sing perfectly in sync online.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"JackTrip Virtual Studio demo\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/N-tQy_hdJHk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The transformation happened because a of choir member’s parent. Watching his kid struggle with online rehearsals on Zoom inspired entrepreneur Mike Dickey to develop a new technology called \u003ca href=\"https://www.jacktrip.org/\" target=\"_blank\" rel=\"noopener noreferrer\">JackTrip\u003c/a>. The free, open-source software, created in partnership with \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford University\u003c/a>, allows singers to sync their voices online from their homes in real time.\u003c/p>\n\u003cp>Solutions to the latency problem for musicians have existed for years, but they’re complicated and expensive to set up. “The idea with JackTrip is to help make online music performance and education as easy and accessible as possible,” Dickey said.\u003c/p>\n\u003ch3>\u003cstrong>December 2020\u003c/strong>\u003c/h3>\n\u003cp>As the statewide COVID-19 daily case count was hitting an all-time high at the end of the year, a San Francisco theater company decided it would do whatever it took to put on a show. [pullquote size=\"medium\" align=\"right\" citation=\"J. P. Gonzalez, cast member\"]‘I can reach people with my voice. I love singing. I love music. It’s so healing and it’s so powerful. That’s like the ultimate goal for me is to make people feel good.’[/pullquote]\u003c/p>\n\u003cp>In December, \u003ca href=\"https://www.sfplayhouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Playhouse\u003c/a> became the first professional performing arts company on the west coast (one of only a couple in the entire country) to produce a musical with a full cast in an indoor venue.\u003c/p>\n\u003cp>The company’s production of “\u003ca href=\"https://www.sfplayhouse.org/sfph/2020-2021-season/songs-for-a-new-world/\" target=\"_blank\" rel=\"noopener noreferrer\">Songs for a New World\u003c/a>” was quite an undertaking.\u003c/p>\n\u003cp>\u003ca href=\"https://vimeo.com/491741601\">https://vimeo.com/491741601\u003c/a>\u003c/p>\n\u003cp>“We had to test three times before we even showed up,” said cast member \u003ca href=\"https://www.sfplayhouse.org/sfph/actor/john-paul-gonzalez/\" target=\"_blank\" rel=\"noopener noreferrer\">J. P. Gonzalez\u003c/a>, a native of Lompoc, north of Santa Barbara.\u003c/p>\n\u003cp>They all podded up — actors and stage management in one pod, director and designers in another. “So basically we never mixed,” said Gonzalez.\u003c/p>\n\u003cp>They prerecorded all of the songs. “We couldn’t sing live on stage,” Gonzalez said. “So we had two days to record all the music.”\u003c/p>\n\u003cp>Once on stage, they lip-synched their way through the performance. And the stage was partitioned to further protect cast members from the potential for flying aerosols even while lip-synching.\u003c/p>\n\u003cfigure id=\"attachment_11873316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873316\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Songs for a New World’ at SF Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We had plexiglass dividers on stage,” said Gonzalez.\u003c/p>\n\u003cp>Also, they didn’t share dressing rooms and wore masks when not singing or filming. “We were masked completely the entire time,” Gonzalez said.\u003c/p>\n\u003cp>COVID spikes in December meant that there was no live audience in the theater. The entire production was filmed and distributed online.\u003c/p>\n\u003cp>Gonzalez said he was very glad to be part of the production, despite the unorthodox process.\u003c/p>\n\u003cp>“I can reach people with my voice. I love singing. I love music. It’s so healing and it’s so powerful,” said Gonzalez. “That’s like the ultimate goal for me is to make people feel good.”\u003c/p>\n\u003ch3>\u003cstrong>January 2021\u003c/strong>\u003c/h3>\n\u003cp>Before the pandemic, the \u003ca href=\"https://hospiceslo.org/services/threshold-singers\" target=\"_blank\" rel=\"noopener noreferrer\">Threshold Singers\u003c/a> in San Luis Obispo on the central coast (one of many “\u003ca href=\"https://thresholdchoir.org\" target=\"_blank\" rel=\"noopener noreferrer\">threshold choirs\u003c/a>” around the country) sang at the bedsides of terminally ill patients in hospices and homes.\u003c/p>\n\u003cp>In January of this year, even as COVID-19 cases continued to spike in California, and bedside singing had by then been out of the question for many months, the choir members figured out how to meet to sing together in person — from the safety of their own cars.\u003c/p>\n\u003cfigure id=\"attachment_11873317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873317\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48987_unnamed-qut-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The members of the Threshold Singers of San Luis Obispo meet in the parking lot of the local hospice. \u003ccite>(Ruth Baillie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This time when we sing it, I really want us to think about who we’re singing for,” said Ruth Baillie, the group’s director, speaking into the microphone from her vehicle parked outside the local hospice during a rehearsal. Half a dozen other cars were parked in a semi-circle opposite hers. “So let’s think about being at the bedside. Can you picture somebody you want us to sing this to?”\u003c/p>\n\u003cp>Then Baillie sounded the starting note of “Rest Easy,” a slow and soothing song by \u003ca href=\"https://gesundheitpublishing.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Marilyn Power Scott\u003c/a>, and the singers started to sing in harmony, a cappella, from their cars.\u003c/p>\n\u003cp>\u003ca href=\"https://www.drivewaychoir.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Driveway choirs\u003c/a> like this one have been springing up around the country during the pandemic.\u003c/p>\n\u003cp>Singers connect from their vehicles with the help of a cheap FM transmitter that hooks into a mixer. The participants use microphones and can hear each other when tuned to the same frequency on their car radios. Baillie said the person receiving the song in the hospice can join in, too.\u003c/p>\n\u003cp>“We can hand them a radio and they can listen to the radio,” Baillie said. “And if we give them a microphone, we can talk to them.”\u003c/p>\n\u003ch3>\u003cstrong>February 2021\u003c/strong>\u003c/h3>\n\u003cp>In February, the state health department restrictions on places of worship involving singing came to a head when \u003ca href=\"https://www.supremecourt.gov/opinions/20pdf/20a136_bq7c.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a case\u003c/a> brought by a \u003ca href=\"https://southbaypentecostal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Diego church\u003c/a> reached the Supreme Court.\u003c/p>\n\u003cp>Churches in California had been hitting back against the rules imposed in July 2020 with a string of lawsuits, saying they infringed on their constitutional rights.\u003c/p>\n\u003cfigure id=\"attachment_11873790\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873790\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Acts Full Gospel Church praise choir singing in pre-pandemic times. \u003ccite>(Courtesy of Acts Full Gospel Church)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Supreme Court ruled in a 6-to-3 decision that California could no longer restrict indoor church services. But the justices upheld the state’s ban on singing and chanting, which angered faith leaders around the state.\u003c/p>\n\u003cp>“Even though we have all the safety precautions, they still say, ‘OK, you can assemble, according to the Supreme Court. But no singing and no chanting.’ And I’m saying, ‘Hey, we have to be able to sing,’ said Bishop Jackson of Ask Full Gospel Church in Oakland. “So now we’re trying to figure it out — how we can sing and still be in accordance with what the law is asking us to do.”\u003c/p>\n\u003ch3>\u003cstrong>April 2021\u003c/strong>\u003c/h3>\n\u003cp>On April 2, Acts Full Gospel went ahead with its Good Friday service. \u003ca href=\"https://www.facebook.com/watch/live/?v=197116925509640&ref=watch_permalink\" target=\"_blank\" rel=\"noopener noreferrer\">Viewers watching on Facebook\u003c/a> could see it was held indoors, in a masked, socially distanced setting complete with plexiglass barriers — and plenty of singing.\u003c/p>\n\u003cp>California has since reversed its ban on singing and chanting in places of worship. The state is still recommending religious groups don’t do these things though — especially indoors.\u003c/p>\n\u003ch3>\u003cstrong>May 2021\u003c/strong>\u003c/h3>\n\u003cp>At this point, \u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\" target=\"_blank\" rel=\"noopener noreferrer\">well over half\u003c/a> of California’s residents are now fully or partially vaccinated.\u003c/p>\n\u003cp>But even though California is reopening on many fronts, singing has been slower than most other activities to make a return to the public sphere, though groups like the \u003ca href=\"https://sfopera.com/on-stage/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> have already started experimenting with live performances in socially distanced settings, like the recent drive-in production of “Barber of Seville” and concert series featuring members of the the company’s young artists program, the Adler Fellows.\u003c/p>\n\u003cfigure id=\"attachment_11873319\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873319\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Opera’s Adler Fellows rehearse for outdoor performances at the Marin Civic Center. \u003ccite>(Kristen Loken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One person who’s been waiting for a long time for singing to make a comeback is Alyse Whitney — the karaoke queen in L.A.\u003c/p>\n\u003cp>In an interview via Zoom from her apartment, Whitney recalled the day she tried karaoke for the very first time. It was on the east coast where she grew up, on a field trip to New York City for kids like her, who had been adopted from Korea. She was around 11 or 12 at the time.\u003c/p>\n\u003cp>“We went to a buffet of Korean food in Flushing. There was a karaoke private room. And I remember singing ‘N Sync. I believe it was ‘Bye Bye Bye,’ ” Whitney said. “We just had a really fun time and that memory stuck with me.”\u003c/p>\n\u003cp>After that, her adoptive parents bought Whitney a home karaoke machine.\u003c/p>\n\u003cp>“It had a tape deck and it was the hit of every party, every sleepover that I hosted as a kid,” she said.\u003cbr>\n[pullquote size=\"medium\" align=\"right\" citation=\"Alyse Whitney\"]‘Even though this year was really hard, there’s that light at the end of the tunnel … And I think it’s a disco light.’[/pullquote]\u003c/p>\n\u003cp>Whitney said that tape deck is still in her childhood bedroom at her parents’ house. She thought about bringing it with her when she moved to Los Angeles last September to work as managing editor for celebrity and entrepreneur Chrissy Teigen’s \u003ca href=\"https://cravingsbychrissyteigen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">lifestyle and cooking website\u003c/a>. On top of the weirdness of starting a new job in a new city in the middle of the pandemic was the sadness of not being able to karaoke with her friends back east.\u003c/p>\n\u003cp>“I thought about hosting a karaoke virtually,” said Whitney. “I talked to friends about it, but we thought it was weird with the feedback on Zoom and the delays. It wouldn’t have worked.”\u003c/p>\n\u003cp>Since Whitney couldn’t get out and explore the karaoke scene in her new city during the pandemic, her mom treated her to some shiny new gear for her birthday last October.\u003c/p>\n\u003cp>“It’s a big gold karaoke machine that sits under my TV,” she said.\u003c/p>\n\u003cfigure id=\"attachment_11873318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873318\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Snapshots from Alyse Whitney’s collection depicting many good times doing karaoke with friends. \u003ccite>(Courtesy Alyse Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in recent months, she’s been putting that big gold karaoke machine to good use, hosting karaoke parties in her apartment for her neighbors. They live in the same fourplex and included Whitney in their pod after she moved in.\u003c/p>\n\u003cp>“When I moved in my neighbors came over and they said, ‘Welcome to the neighborhood.’ They brought croissants and wine. They were so sweet,” Whitney said.\u003c/p>\n\u003cp>They even formed a band.\u003c/p>\n\u003cp>“We call ourselves D5. And we all have a pose and our position in the band,” said Whitney. “It’s a fun time.” [aside tag=\"singing, choir\" label=\"More Related Stories\"]\u003c/p>\n\u003cp>But she said singing at home isn’t the same.\u003c/p>\n\u003cp>“That’s what I’m looking forward to when I can emerge into the world and go back and do a karaoke room, and celebrate, and remember that even though this year was really hard, there’s that light at the end of the tunnel,” Whitney said. “And I think it’s a disco light.”\u003c/p>\n\u003cp>Earlier this month, Whitney was finally able to visit an L.A. karaoke bar for the first time: \u003ca href=\"https://maxkaraokestudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Max Karaoke\u003c/a> in Little Tokyo.\u003c/p>\n\u003cp>The smiley, bespectacled 30-year-old wore her sparkly jumpsuit, did high kicks on the dance floor (which she said she regretted the following day) and sang her signature song — “Mr. Brightside” by The Killers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It was exhilarating,” Whitney said. “I can’t wait to go back.”\u003c/p>\n\n",
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"excerpt": "Throughout the pandemic, KQED has been following what happened to singing across California — from karaoke to choir — and how it went from almost disappearing to helping people maintain solidarity, social purpose and a sense of humor through these dark times.",
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"title": "The Year When Singing Became Dangerous | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s nothing Alyse Whitney likes to do more than hit a karaoke bar with her friends, have a few drinks and sing her heart out.\u003c/p>\n\u003cp>“Feeling the presence of being kind of a rock star for the night is really fun and makes me realize that, hey, I’m good at something. This is my thing,” the Los Angeles resident told KQED in a recent video interview.\u003c/p>\n\u003cp>The last time Whitney went out karaokeing was right before the pandemic shut down all the bars. She and her friend were the only customers in the place.\u003c/p>\n\u003cp>“We sang almost all of Celine’s [Dion] catalog. We changed the words to Enrique Iglesias’ ‘Escape’ to say, ‘You can run, you can hide, but you can’t escape COVID!’ ” recalled Whitney. “And we didn’t realize it was going to be such a big deal and how impactful that night would have been as a last hurrah.”\u003c/p>\n\u003cfigure id=\"attachment_11873303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11873303 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alyse Whitney enjoying a night out at a karaoke bar. \u003ccite>(Courtesy Alyse Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whitney and her friend staggered out of there at four in the morning. They closed the place down — literally, as it turned out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This was March 6, 2020,” Whitney said. “And my karaoke drought started March 7.”\u003c/p>\n\u003cp>The drought Whitney is talking about didn’t just affect people who like sing in karaoke bars. COVID-19 impacted vocalists across the state — both amateur and professional — in community centers, schools, churches, recording studios, theaters, clubs and concert halls.\u003c/p>\n\u003cp>“Last year was going to be a pretty big year in terms of my singing engagements,” said vocalist, singing teacher and actress \u003ca href=\"https://cjsings.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Candace Johnson\u003c/a>. “So I was really looking forward to the [concert] calendar. And then — BOOM — it was all gone.”\u003c/p>\n\u003cfigure id=\"attachment_11873304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11873304 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48985_candace-qut-800x441.jpg\" alt=\"\" width=\"800\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-1020x563.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-1536x847.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer and teacher Candace Johnson leading a class on Zoom during the pandemic. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The blow to singers across the state wasn’t just financial as their gigs dried up. They also mourned the loss of connection and community. And on top of that, they were forced to confront a devastating truth: This beloved, healthy, everyday activity had become a killer.\u003c/p>\n\u003cp>“We know that COVID-19 is caused by a transmission of the virus primarily through aerosol particles, and about three times as many aerosols are emitted during singing compared to talking,” said \u003cspan style=\"font-weight: 400\">UC Davis \u003c/span>\u003cspan style=\"font-weight: 400\">civil and environmental engineering professor \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://faculty.engineering.ucdavis.edu/cappa/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Cappa\u003c/a>, who’s been studying how COVID-19 is spread. “\u003c/span>This means that singing is inherently a riskier activity.”\u003c/p>\n\u003cp>Most singing in public stopped. But it didn’t go away entirely.\u003c/p>\n\u003cp>Throughout this pandemic, KQED has been chronicling the journeys of individuals and singing groups across California. Read on to find out how singing transformed over the past year, and went from almost disappearing entirely, to helping many across the state maintain solidarity, social purpose and a sense of humor through these dark, dark times.\u003c/p>\n\u003ch3>\u003cstrong>March 2020\u003c/strong>\u003c/h3>\n\u003cp>On the morning of March 11, 2020, Americans awoke to the latest in a deluge of coffee-spilling headlines: Despite practicing social distancing, \u003ca href=\"https://www.cnn.com/2020/05/13/us/coronavirus-washington-choir-outbreak-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">53 members of a community choir in Washington state\u003c/a> tested positive for COVID-19 and started showing symptoms of the coronavirus after attending a rehearsal the previous evening. Two members died.\u003c/p>\n\u003cp>At the time this superspreader event occurred, COVID-19 tests were hard to come by, and health officials didn’t truly know how the virus was spread. In the early days, public messaging focused on things like telling people to avoid shaking hands with others, disinfecting surfaces and keeping their fingers off their faces.\u003c/p>\n\u003cp>Regardless, the wildfire-like spread of the coronavirus over a couple of hours of choral singing inside a Washington church was enough to send shockwaves throughout the singing community in California.\u003c/p>\n\u003cfigure id=\"attachment_11873305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873305\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Los Angeles Master Chorale performed its last live concert on Jan. 26, 2020. \u003ccite>(Jamie Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was a real warning shot for us,” said \u003ca href=\"https://lamasterchorale.org/jean-davidson\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Davidson\u003c/a>, president and CEO of the \u003ca href=\"https://lamasterchorale.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles Master Chorale\u003c/a>, one of the most high-profile classical vocal ensembles in the state. “And we erred on the side of caution and canceled all of our rehearsals and performances.”\u003c/p>\n\u003cp>The chorale’s last live, in-person concert took place on Jan. 26, 2020. Its last rehearsal was March 4, 2020.\u003c/p>\n\u003ch3>\u003cstrong>May 2020\u003c/strong>\u003c/h3>\n\u003cp>In those first desolate and bewildering months of lockdown, singing retreated almost entirely indoors and became mostly a solitary act.\u003c/p>\n\u003cp>But despite the extraordinary circumstances and significant health risks, singers weren’t completely willing to give up on the idea of rehearsing together or even singing in public. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last May, in San Francisco, bass-baritone J. T. Williams started appearing on their balcony most late afternoons to sing opera arias. They soon started streaming the concerts on \u003ca href=\"https://www.facebook.com/OperaFromTheBalcony/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>.\u003c/p>\n\u003cp>J. T. said they’d been struggling with suicidal thoughts near the start of the pandemic. They found healing in the smiles, waves and applause of the people who listened from neighboring homes or stopped by while out walking their dogs.\u003c/p>\n\u003cfigure id=\"attachment_11873306\" class=\"wp-caption aligncenter\" style=\"max-width: 552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11873306 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48983_J-T-Williams-qut-e1621018557411.jpg\" alt=\"\" width=\"552\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48983_J-T-Williams-qut-e1621018557411.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48983_J-T-Williams-qut-e1621018557411-160x174.jpg 160w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003cfigcaption class=\"wp-caption-text\">J. T. Williams started singing opera arias on their balcony soon after the pandemic hit. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The audience has helped me get through very dark and difficult days,” Williams said.\u003c/p>\n\u003cp>Meanwhile, singers were starting to figure out how to make music together online.\u003c/p>\n\u003cp>Many turned to platforms like \u003ca href=\"https://zoom.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Zoom\u003c/a> and \u003ca href=\"https://hangouts.google.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Google Hangouts\u003c/a>. But they were not built for making music. The delays caused by varying data transfer speeds made it almost impossible for people in different locations to sing together in sync.\u003c/p>\n\u003cp>Groups like the \u003ca href=\"https://www.piedmontchoirs.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Piedmont East Bay Children’s Choir\u003c/a> forged ahead with online rehearsals, even though it was slow going.\u003c/p>\n\u003cp>In a practice held via Zoom KQED sat in on in May 2020, the group’s artistic director, \u003ca href=\"https://www.piedmontchoirs.org/staff/eric-tuan\" target=\"_blank\" rel=\"noopener noreferrer\">Eric Tuan\u003c/a>, tried to get the young singers to build a chord from the bottom up. “Actually mute yourselves,” he was forced to admit. “It’s not going to work.”\u003c/p>\n\u003cfigure id=\"attachment_11810148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11810148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg\" alt=\"Piedmont East Bay Children's Choir artistic director Eric Tuan leads a virtual rehearsal via Zoom on March 30, 2020.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Piedmont East Bay Children’s Choir Artistic Director Eric Tuan leads a virtual rehearsal via Zoom. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for others, virtual collaboration wasn’t even an option.\u003c/p>\n\u003cp>Singing teacher \u003ca href=\"http://www.bethwilmurt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Wilmurt\u003c/a> spent the early months of the COVID-19 stay-at-home orders making short instructional videos for the young members of the \u003ca href=\"https://sfcmc.org/youth/group-classes-and-ensembles/#childrens-chorus\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Community Music Center Children’s Chorus\u003c/a> she leads.\u003c/p>\n\u003cp>“Hi everybody. It’s just me and my ukulele,” Wilmurt said at the top of one of her very first videos. “I thought you could sing with me.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"CMC Children's Chorus: Warm-up and "Ride This Train" with Beth Wilmurt\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/7B7WCRSwt8I?start=223&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Many of the 8-12 year-olds in Wilmurt’s group come from low-income households. They don’t all have access to internet connections fast enough for online meetups. In the absence of in-person get-togethers for singing, Wilmurt’s videos provided the students with a way to learn songs in their own time from home. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Days can really blend one into the other here,” said Yaron Milgrom, the father of three young singers in Wilmurt’s chorus. “Music and singing songs, it’s just part of keeping a sense of normalcy.”\u003c/p>\n\u003cp>Wilmurt has been teaching this children’s choir for over 20 years. She said what keeps her sticking with it is the sense of connection the kids feel when they get to meet up in person to sing.\u003c/p>\n\u003cp>“It’s palpable, the energy that choirs bring singing together, there’s just nothing like it,” Wilmurt said. “And, we can’t do it with the technology yet.”\u003c/p>\n\u003ch3>\u003cstrong>June 2020\u003c/strong>\u003c/h3>\n\u003cp>As the pitiless Spring dragged on, it became increasingly clear that breaking into song around others was one of the most unsafe things a person could do.\u003c/p>\n\u003cp>Even though California was beginning to emerge from the shelter-in-place orders, infections were on the rise. The state’s \u003ca href=\"https://www.cdph.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">Department of Public Health\u003c/a> started \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/CDPH%20Document%20Library/COVID-19/Guidance-for-the-Prevention-of-COVID-19-Transmission-for-Gatherings--en.pdf#search=singing\" target=\"_blank\" rel=\"noopener noreferrer\">issuing warnings\u003c/a> against singing in public, and it continued to do this throughout the year.\u003c/p>\n\u003cp>But when Californians took to the streets in protest after George Floyd was murdered by a policeman in Minneapolis, they sang anyway.\u003c/p>\n\u003cp>In the San Francisco Bay Area, people marched to the late Oakland-born rapper Mac Dre’s “Feelin’ Myself.”\u003c/p>\n\u003cp>In L.A., they sang “Alright” by Kendrick Lamar. The song has been embraced at Black Lives Matter rallies around the country in recent years because it speaks to hope in difficult times.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"LA riots 2020 GOERGE Floyd Los Angeles protest Kendrick Lamar we’re gonna be all right turn up\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/M9sDwLV_eQc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Also in June, in the wake of Floyd’s death, Vallejo-born R&B artist \u003ca href=\"https://www.instagram.com/hermusicofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">H.E.R.\u003c/a> released the song “I Can’t Breathe.” The singer’s gut-wrenching performance won the \u003ca href=\"https://www.grammy.com/grammys/news/her-wins-song-of-the-year-2021-winner\" target=\"_blank\" rel=\"noopener noreferrer\">Song of the Year Award at this year’s Grammys\u003c/a>.\u003c/p>\n\u003cp>Around the same time as many Californians took to the streets, many others stayed indoors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.novajimenez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nova Jimenez\u003c/a> was among them. The singer and vocal music teacher said she felt so sad at the start of the pandemic that she just locked herself in her room and sang. “It felt like the end of the world,” she said.\u003c/p>\n\u003cp>One day, Jimenez had an idea.\u003c/p>\n\u003cp>“Here I am singing by myself, and I thought, well, maybe, maybe someone wants to hear me, I don’t know,” she said.\u003c/p>\n\u003cp>As a professional singer, Jimenez realized in that moment maybe she could use her talent to help others overcome their feelings of exhaustion, loneliness and despair. So she placed an online ad offering her services for free to front-line workers, or anyone homebound or isolated due to the pandemic, and in need of a little uplift.\u003c/p>\n\u003cp>The vocalist has performed nearly 100 “\u003ca href=\"https://www.novajimenez.com/news\" target=\"_blank\" rel=\"noopener noreferrer\">Sidewalk Serenades\u003c/a>” through the pandemic for front-line workers and people who are isolated in the Bay Area.\u003c/p>\n\u003cp>One Sunday, KQED caught up with Jimenez as she was serenading elders outside a retirement home called \u003ca href=\"https://channinghouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Channing House\u003c/a> in Palo Alto.\u003c/p>\n\u003cfigure id=\"attachment_11873310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873310\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS47195_nova-1-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nova Jimenez performs a sidewalk serenade outside Channing House in Palo Alto. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello, Channing House!” she said after setting up her microphone, music stand and portable amp on the sidewalk across from the drab concrete building. “Oh, dear friends, I’m so happy to see you!”\u003c/p>\n\u003cp>Dozens of residents appeared on their balconies and in the parking lot to listen. “It’s so exciting to have Nova come and sing for us,” said resident Nancy Fiene.\u003c/p>\n\u003cp>Wearing a dress emblazoned with red peonies and white daisies, Jimenez exuded the spirit of warmth and romance as she sang old-time favorites like “Solamente Una Vez” and “La Vie en Rose.”\u003c/p>\n\u003cp>Life has been far from rosy for the residents of Channing House this past year. They’ve been rocked by two COVID-19 outbreaks and five people have died. It’s been a time of loss and confinement. Fiene said Jimenez’s performances at Channing House have provided a break from all of that.\u003c/p>\n\u003cp>“She’s got a lot of pizzazz,” said Fiene. “It’s a little bit of a breath of fresh air from the outside world,” said Fiene’s husband, Tom. “We’ve been pretty well isolated here for months.”\u003c/p>\n\u003cfigure id=\"attachment_11873311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873311\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Channing House residents Nancy Fiene, Tom Fiene and George Young. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To add to the sense of community, Jimenez’s concerts often end with singalongs.\u003c/p>\n\u003cp>“I want you to feel like you’re going to just let it out and sing to the heavens!” she said.\u003c/p>\n\u003cp>The singer launched into her rendition of “Brand New Day” from the musical “The Wiz.”\u003c/p>\n\u003cp>Nearly everyone joined in for the choruses. They waved their arms and clapped. Some even danced around in the parking lot.\u003c/p>\n\u003cp>Afterward, the Channing House parking lot erupted in claps, cheers and cries of “Encore! Encore!”\u003c/p>\n\u003cp>“Thank you Channing House. Te amo! Te amo! I love you!” said Jimenez. Then the performer packed up her gear and the residents went back inside, maybe feeling just a bit more hopeful about the future.\u003c/p>\n\u003ch3>\u003cstrong>July 2020\u003c/strong>\u003c/h3>\n\u003cp>In July, state officials put \u003ca href=\"https://files.covid19.ca.gov/pdf/guidance-places-of-worship.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">limitations on places of worship\u003c/a> after they were the site of several superspreader events. Indoor services had to be restricted to a maximum of 25% capacity or 100 people, whichever is lower, and there was a total ban on singing.\u003c/p>\n\u003cp>The new rules incensed \u003ca href=\"https://www.actsfullgospel.org/bishop\" target=\"_blank\" rel=\"noopener noreferrer\">Robert L. Jackson\u003c/a>, senior pastor of \u003ca href=\"https://www.actsfullgospel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Acts Full Gospel Church\u003c/a> in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_11873727\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873727\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48990_bishop-bob-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48990_bishop-bob-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48990_bishop-bob-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48990_bishop-bob-qut.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Acts Full Gospel Church senior pastor Robert L. Jackson. \u003ccite>(Courtesy Acts Full Gospel Church)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like trying to play basketball without a basketball. It’s like playing football without a football,” Jackson said. “You just can’t have a service, a worship service to God, without singing.”\u003c/p>\n\u003cp>Like many other faith leaders, Jackson moved his services online and outdoors. He said singing was a regular part of his Sunday “drive-in” services out in the church parking lot.\u003c/p>\n\u003cp>“People were singing in their cars,” said Jackson. “Most of them had the windows down.”\u003c/p>\n\u003ch3>\u003cstrong>August 2020\u003c/strong>\u003c/h3>\n\u003cp>Live vocal performances continued to be a rarity for the rest of last year.\u003c/p>\n\u003cp>But Californians started to come up with creative ways, often involving technology, to keep singing going as the pandemic restrictions dragged on.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=j63FFPh-loo\">https://www.youtube.com/watch?v=j63FFPh-loo\u003c/a>\u003c/p>\n\u003cp>Starting last August, \u003ca href=\"https://www.fox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fox\u003c/a> managed to tape two seasons of “\u003ca href=\"https://www.fox.com/the-masked-singer/\" target=\"_blank\" rel=\"noopener noreferrer\">The Masked Singer\u003c/a>” in Los Angeles using cleverly edited virtual audiences. The hit reality TV show turned out to be the ultimate entertainment for these pandemic times with its mask-wearing celebrity contestants, like an appearance by Long Beach native and Olympic snowboarder \u003ca href=\"https://www.teamusa.org/us-ski-and-snowboard/athletes/Chloe-Kim\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Kim\u003c/a>, disguised as a cute, green jellyfish.\u003c/p>\n\u003ch3>\u003cstrong>September 2020\u003c/strong>\u003c/h3>\n\u003cp>In September, the Silicon Valley-based \u003ca href=\"https://ragazzi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ragazzi Boys Chorus\u003c/a> went from struggling to sing together during remote rehearsals to being able to sing perfectly in sync online.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"JackTrip Virtual Studio demo\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/N-tQy_hdJHk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The transformation happened because a of choir member’s parent. Watching his kid struggle with online rehearsals on Zoom inspired entrepreneur Mike Dickey to develop a new technology called \u003ca href=\"https://www.jacktrip.org/\" target=\"_blank\" rel=\"noopener noreferrer\">JackTrip\u003c/a>. The free, open-source software, created in partnership with \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford University\u003c/a>, allows singers to sync their voices online from their homes in real time.\u003c/p>\n\u003cp>Solutions to the latency problem for musicians have existed for years, but they’re complicated and expensive to set up. “The idea with JackTrip is to help make online music performance and education as easy and accessible as possible,” Dickey said.\u003c/p>\n\u003ch3>\u003cstrong>December 2020\u003c/strong>\u003c/h3>\n\u003cp>As the statewide COVID-19 daily case count was hitting an all-time high at the end of the year, a San Francisco theater company decided it would do whatever it took to put on a show. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In December, \u003ca href=\"https://www.sfplayhouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Playhouse\u003c/a> became the first professional performing arts company on the west coast (one of only a couple in the entire country) to produce a musical with a full cast in an indoor venue.\u003c/p>\n\u003cp>The company’s production of “\u003ca href=\"https://www.sfplayhouse.org/sfph/2020-2021-season/songs-for-a-new-world/\" target=\"_blank\" rel=\"noopener noreferrer\">Songs for a New World\u003c/a>” was quite an undertaking.\u003c/p>\n\u003cp>\u003ca href=\"https://vimeo.com/491741601\">https://vimeo.com/491741601\u003c/a>\u003c/p>\n\u003cp>“We had to test three times before we even showed up,” said cast member \u003ca href=\"https://www.sfplayhouse.org/sfph/actor/john-paul-gonzalez/\" target=\"_blank\" rel=\"noopener noreferrer\">J. P. Gonzalez\u003c/a>, a native of Lompoc, north of Santa Barbara.\u003c/p>\n\u003cp>They all podded up — actors and stage management in one pod, director and designers in another. “So basically we never mixed,” said Gonzalez.\u003c/p>\n\u003cp>They prerecorded all of the songs. “We couldn’t sing live on stage,” Gonzalez said. “So we had two days to record all the music.”\u003c/p>\n\u003cp>Once on stage, they lip-synched their way through the performance. And the stage was partitioned to further protect cast members from the potential for flying aerosols even while lip-synching.\u003c/p>\n\u003cfigure id=\"attachment_11873316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873316\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Songs for a New World’ at SF Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We had plexiglass dividers on stage,” said Gonzalez.\u003c/p>\n\u003cp>Also, they didn’t share dressing rooms and wore masks when not singing or filming. “We were masked completely the entire time,” Gonzalez said.\u003c/p>\n\u003cp>COVID spikes in December meant that there was no live audience in the theater. The entire production was filmed and distributed online.\u003c/p>\n\u003cp>Gonzalez said he was very glad to be part of the production, despite the unorthodox process.\u003c/p>\n\u003cp>“I can reach people with my voice. I love singing. I love music. It’s so healing and it’s so powerful,” said Gonzalez. “That’s like the ultimate goal for me is to make people feel good.”\u003c/p>\n\u003ch3>\u003cstrong>January 2021\u003c/strong>\u003c/h3>\n\u003cp>Before the pandemic, the \u003ca href=\"https://hospiceslo.org/services/threshold-singers\" target=\"_blank\" rel=\"noopener noreferrer\">Threshold Singers\u003c/a> in San Luis Obispo on the central coast (one of many “\u003ca href=\"https://thresholdchoir.org\" target=\"_blank\" rel=\"noopener noreferrer\">threshold choirs\u003c/a>” around the country) sang at the bedsides of terminally ill patients in hospices and homes.\u003c/p>\n\u003cp>In January of this year, even as COVID-19 cases continued to spike in California, and bedside singing had by then been out of the question for many months, the choir members figured out how to meet to sing together in person — from the safety of their own cars.\u003c/p>\n\u003cfigure id=\"attachment_11873317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873317\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48987_unnamed-qut-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The members of the Threshold Singers of San Luis Obispo meet in the parking lot of the local hospice. \u003ccite>(Ruth Baillie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This time when we sing it, I really want us to think about who we’re singing for,” said Ruth Baillie, the group’s director, speaking into the microphone from her vehicle parked outside the local hospice during a rehearsal. Half a dozen other cars were parked in a semi-circle opposite hers. “So let’s think about being at the bedside. Can you picture somebody you want us to sing this to?”\u003c/p>\n\u003cp>Then Baillie sounded the starting note of “Rest Easy,” a slow and soothing song by \u003ca href=\"https://gesundheitpublishing.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Marilyn Power Scott\u003c/a>, and the singers started to sing in harmony, a cappella, from their cars.\u003c/p>\n\u003cp>\u003ca href=\"https://www.drivewaychoir.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Driveway choirs\u003c/a> like this one have been springing up around the country during the pandemic.\u003c/p>\n\u003cp>Singers connect from their vehicles with the help of a cheap FM transmitter that hooks into a mixer. The participants use microphones and can hear each other when tuned to the same frequency on their car radios. Baillie said the person receiving the song in the hospice can join in, too.\u003c/p>\n\u003cp>“We can hand them a radio and they can listen to the radio,” Baillie said. “And if we give them a microphone, we can talk to them.”\u003c/p>\n\u003ch3>\u003cstrong>February 2021\u003c/strong>\u003c/h3>\n\u003cp>In February, the state health department restrictions on places of worship involving singing came to a head when \u003ca href=\"https://www.supremecourt.gov/opinions/20pdf/20a136_bq7c.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a case\u003c/a> brought by a \u003ca href=\"https://southbaypentecostal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Diego church\u003c/a> reached the Supreme Court.\u003c/p>\n\u003cp>Churches in California had been hitting back against the rules imposed in July 2020 with a string of lawsuits, saying they infringed on their constitutional rights.\u003c/p>\n\u003cfigure id=\"attachment_11873790\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873790\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Acts Full Gospel Church praise choir singing in pre-pandemic times. \u003ccite>(Courtesy of Acts Full Gospel Church)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Supreme Court ruled in a 6-to-3 decision that California could no longer restrict indoor church services. But the justices upheld the state’s ban on singing and chanting, which angered faith leaders around the state.\u003c/p>\n\u003cp>“Even though we have all the safety precautions, they still say, ‘OK, you can assemble, according to the Supreme Court. But no singing and no chanting.’ And I’m saying, ‘Hey, we have to be able to sing,’ said Bishop Jackson of Ask Full Gospel Church in Oakland. “So now we’re trying to figure it out — how we can sing and still be in accordance with what the law is asking us to do.”\u003c/p>\n\u003ch3>\u003cstrong>April 2021\u003c/strong>\u003c/h3>\n\u003cp>On April 2, Acts Full Gospel went ahead with its Good Friday service. \u003ca href=\"https://www.facebook.com/watch/live/?v=197116925509640&ref=watch_permalink\" target=\"_blank\" rel=\"noopener noreferrer\">Viewers watching on Facebook\u003c/a> could see it was held indoors, in a masked, socially distanced setting complete with plexiglass barriers — and plenty of singing.\u003c/p>\n\u003cp>California has since reversed its ban on singing and chanting in places of worship. The state is still recommending religious groups don’t do these things though — especially indoors.\u003c/p>\n\u003ch3>\u003cstrong>May 2021\u003c/strong>\u003c/h3>\n\u003cp>At this point, \u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\" target=\"_blank\" rel=\"noopener noreferrer\">well over half\u003c/a> of California’s residents are now fully or partially vaccinated.\u003c/p>\n\u003cp>But even though California is reopening on many fronts, singing has been slower than most other activities to make a return to the public sphere, though groups like the \u003ca href=\"https://sfopera.com/on-stage/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> have already started experimenting with live performances in socially distanced settings, like the recent drive-in production of “Barber of Seville” and concert series featuring members of the the company’s young artists program, the Adler Fellows.\u003c/p>\n\u003cfigure id=\"attachment_11873319\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873319\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Opera’s Adler Fellows rehearse for outdoor performances at the Marin Civic Center. \u003ccite>(Kristen Loken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One person who’s been waiting for a long time for singing to make a comeback is Alyse Whitney — the karaoke queen in L.A.\u003c/p>\n\u003cp>In an interview via Zoom from her apartment, Whitney recalled the day she tried karaoke for the very first time. It was on the east coast where she grew up, on a field trip to New York City for kids like her, who had been adopted from Korea. She was around 11 or 12 at the time.\u003c/p>\n\u003cp>“We went to a buffet of Korean food in Flushing. There was a karaoke private room. And I remember singing ‘N Sync. I believe it was ‘Bye Bye Bye,’ ” Whitney said. “We just had a really fun time and that memory stuck with me.”\u003c/p>\n\u003cp>After that, her adoptive parents bought Whitney a home karaoke machine.\u003c/p>\n\u003cp>“It had a tape deck and it was the hit of every party, every sleepover that I hosted as a kid,” she said.\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whitney said that tape deck is still in her childhood bedroom at her parents’ house. She thought about bringing it with her when she moved to Los Angeles last September to work as managing editor for celebrity and entrepreneur Chrissy Teigen’s \u003ca href=\"https://cravingsbychrissyteigen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">lifestyle and cooking website\u003c/a>. On top of the weirdness of starting a new job in a new city in the middle of the pandemic was the sadness of not being able to karaoke with her friends back east.\u003c/p>\n\u003cp>“I thought about hosting a karaoke virtually,” said Whitney. “I talked to friends about it, but we thought it was weird with the feedback on Zoom and the delays. It wouldn’t have worked.”\u003c/p>\n\u003cp>Since Whitney couldn’t get out and explore the karaoke scene in her new city during the pandemic, her mom treated her to some shiny new gear for her birthday last October.\u003c/p>\n\u003cp>“It’s a big gold karaoke machine that sits under my TV,” she said.\u003c/p>\n\u003cfigure id=\"attachment_11873318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873318\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Snapshots from Alyse Whitney’s collection depicting many good times doing karaoke with friends. \u003ccite>(Courtesy Alyse Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in recent months, she’s been putting that big gold karaoke machine to good use, hosting karaoke parties in her apartment for her neighbors. They live in the same fourplex and included Whitney in their pod after she moved in.\u003c/p>\n\u003cp>“When I moved in my neighbors came over and they said, ‘Welcome to the neighborhood.’ They brought croissants and wine. They were so sweet,” Whitney said.\u003c/p>\n\u003cp>They even formed a band.\u003c/p>\n\u003cp>“We call ourselves D5. And we all have a pose and our position in the band,” said Whitney. “It’s a fun time.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But she said singing at home isn’t the same.\u003c/p>\n\u003cp>“That’s what I’m looking forward to when I can emerge into the world and go back and do a karaoke room, and celebrate, and remember that even though this year was really hard, there’s that light at the end of the tunnel,” Whitney said. “And I think it’s a disco light.”\u003c/p>\n\u003cp>Earlier this month, Whitney was finally able to visit an L.A. karaoke bar for the first time: \u003ca href=\"https://maxkaraokestudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Max Karaoke\u003c/a> in Little Tokyo.\u003c/p>\n\u003cp>The smiley, bespectacled 30-year-old wore her sparkly jumpsuit, did high kicks on the dance floor (which she said she regretted the following day) and sang her signature song — “Mr. Brightside” by The Killers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was exhilarating,” Whitney said. “I can’t wait to go back.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/news/11872571/conoce-al-angel-de-tiktok-de-los-vendedores-ambulantes\">\u003cem>Leer en español\u003c/em>\u003c/a>\u003c/p>\n\u003cp>When TikTok started gaining popularity, Jesus Morales, like many other young people, decided to create original content to post on the social media platform. [pullquote size=\"right\" align=\"right\" citation=\"Jesus Morales, @Juixxe on Tiktok \"]‘Never in my life would I have imagined that I would be doing TikTok for a living. The interaction with the sellers takes a little time and I can do the editing of the video in about 20 or 30 minutes.’[/pullquote]\u003c/p>\n\u003cp>What he did not expect is that in a very short time he would become an influencer and a guardian angel for many street vendors in California.\u003c/p>\n\u003cp>The 24-year-old said that after being fired from his job at the beginning of the pandemic in 2020, he decided to use his free time to create funny videos. His followers increased, but the results didn’t really make him happy.\u003c/p>\n\u003cp>He felt something was missing.\u003c/p>\n\u003cfigure id=\"attachment_11872537\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11872537\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/courtesy_tiktok_01-800x528.jpeg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/courtesy_tiktok_01-800x528.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/courtesy_tiktok_01-1020x673.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/courtesy_tiktok_01-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/courtesy_tiktok_01.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus Moralez, who goes by Juixxe on TikTok, raises donations from followers that he shares with street vendors in Los Angeles. \u003ccite>(Photo courtesy of Jesus Morales)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then he started watching other TikTok videos with a purpose: people leaving large amounts of tips in restaurants and another showing a young woman giving money to street vendors. The influencers indicated that the money was mainly from donations from their followers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I made a video asking for donations to help the homeless,” said Morales, whose name on social media is @Juixxe, a play on his nickname Juice.\u003c/p>\n\u003cp>And it worked. He received some donations, which he used to buy food and water for the homeless. [aside tag=\"tiktok\" label=\"More Related Stories\"]\u003c/p>\n\u003cp>His target, however, was the Latino immigrant community.\u003c/p>\n\u003cp>Morales, who is the son of Mexican immigrants, was born and raised in Illinois and moved to San Diego a few years ago. He lived in Los Angeles for a year and noticed a high number of street vendors.\u003c/p>\n\u003cp>Most of them are older and undocumented, he recalled. This really hit close to home as he remembered the daily struggles of his parents.\u003c/p>\n\u003cp>“My dad worked multiple jobs and my mom was a server and she would tell me that sometimes people would tip her pennies,” Morales said.\u003c/p>\n\u003cp>To honor the hard work of immigrants he began working on videos with a purpose: the money raised from his followers would be used to search for random street vendors to give it to them.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@juixxe/video/6895084234248162566\" data-video-id=\"6895084234248162566\">\n\u003csection>\u003ca title=\"@juixxe\" href=\"https://www.tiktok.com/@juixxe\" target=\"_blank\" rel=\"noopener noreferrer\">@juixxe\u003c/a>Always supporting our street vendors! 🙏🏽 \u003ca title=\"juixxe\" href=\"https://www.tiktok.com/tag/juixxe\" target=\"_blank\" rel=\"noopener noreferrer\">#Juixxe\u003c/a> \u003ca title=\"streetvendor\" href=\"https://www.tiktok.com/tag/streetvendor\" target=\"_blank\" rel=\"noopener noreferrer\">#StreetVendor\u003c/a> \u003ca title=\"giveback\" href=\"https://www.tiktok.com/tag/giveback\" target=\"_blank\" rel=\"noopener noreferrer\">#Giveback\u003c/a>\n\u003cp>\u003ca title=\"♬ original sound - Jesús\" href=\"https://www.tiktok.com/music/original-sound-6895084249473469190\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Jesús\u003c/a>\u003c/p>\n\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003ch3>Blessings from strangers\u003c/h3>\n\u003cp>Morales has distributed more than $90,000 in donations to street vendors throughout California but primarily in Los Angeles. He said his followers have donated anywhere from a few dollars to $1,000 in a single transaction.\u003c/p>\n\u003cp>Juixxe distributes the money once or twice a week, depending on the amount he collects.\u003c/p>\n\u003cp>He has a peculiar way of delivering the money. He asks to buy all their merchandise and when the sellers accept, Morales offers them money. He usually hands them $1,000 in an envelope and tells them to keep the merchandise.\u003c/p>\n\u003cp>It is very common to see on the videos street vendors shocked with the news, eventually thanking him for the gesture and sending blessings to his followers.\u003c/p>\n\u003cp>Some even kneel in amazement.\u003c/p>\n\u003cp>Morales said that these types of videos have filled him with inexplicable joy.\u003c/p>\n\u003cp>“I do not know (the sellers) nor do I know what they are going through,” Morales said, “I would not say that I come at a perfect time, but it is a visit with a purpose.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@juixxe/video/6921152988044070150\" data-video-id=\"6921152988044070150\">\n\u003csection>\u003ca title=\"@juixxe\" href=\"https://www.tiktok.com/@juixxe\" target=\"_blank\" rel=\"noopener noreferrer\">@juixxe\u003c/a>They were only expecting $8 🥺 \u003ca title=\"juixxe\" href=\"https://www.tiktok.com/tag/juixxe\" target=\"_blank\" rel=\"noopener noreferrer\">#juixxe\u003c/a>\n\u003cp>\u003ca title=\"♬ оригинальный звук - nlaims\" href=\"https://www.tiktok.com/music/%D0%BE%D1%80%D0%B8%D0%B3%D0%B8%D0%BD%D0%B0%D0%BB%D1%8C%D0%BD%D1%8B%D0%B9-%D0%B7%D0%B2%D1%83%D0%BA-6865193361293216517\" target=\"_blank\" rel=\"noopener noreferrer\">♬ оригинальный звук – nlaims\u003c/a>\u003c/p>\n\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003ch3>A full-time job\u003c/h3>\n\u003cp>A few months into the TikTok video creating, Juixxe made it his full-time job. Now he has more than a million followers and his videos have thousands of views. It is from these views that he receives his salary as well as from sponsors.\u003c/p>\n\u003cp>“Never in my life would I have imagined that I would be doing TikTok for a living,” Morales said. “The interaction with the sellers takes a little time and I can do the editing of the video in about 20 or 30 minutes.”\u003c/p>\n\u003cp>Morales said after handing over the donation to the sellers, he waits a few days or weeks to post the video on social media. He also makes sure to cover the faces of the street vendors who appear in the videos. All of this is done for their safety.\u003c/p>\n\u003cp>“I would hate any street vendor to be targeted and be robbed,” said Juixxe, who travels once or twice a week from San Diego to Los Angeles to deliver to those most in need.\u003c/p>\n\u003cp>Morales has always wanted to make these kinds of videos but had to overcome his fear of failure.\u003c/p>\n\u003cp>“You know you have to fail to be successful,” he said, “and I have failed many times in my life. This is the only thing I can say that I have not failed.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article is part of the \u003ca href=\"https://calmatters.org/projects/california-divide/\" target=\"_blank\" rel=\"noopener noreferrer\">California Divide\u003c/a>, a collaboration among newsrooms examining income inequality and economic survival in California.\u003c/em>\u003c/p>\n\n",
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"excerpt": "With a million followers donating thousands of dollars, one Tiktok creator is making videos to raise money for Los Angeles street vendors.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What he did not expect is that in a very short time he would become an influencer and a guardian angel for many street vendors in California.\u003c/p>\n\u003cp>The 24-year-old said that after being fired from his job at the beginning of the pandemic in 2020, he decided to use his free time to create funny videos. His followers increased, but the results didn’t really make him happy.\u003c/p>\n\u003cp>He felt something was missing.\u003c/p>\n\u003cfigure id=\"attachment_11872537\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11872537\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/courtesy_tiktok_01-800x528.jpeg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/courtesy_tiktok_01-800x528.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/courtesy_tiktok_01-1020x673.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/courtesy_tiktok_01-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/courtesy_tiktok_01.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus Moralez, who goes by Juixxe on TikTok, raises donations from followers that he shares with street vendors in Los Angeles. \u003ccite>(Photo courtesy of Jesus Morales)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then he started watching other TikTok videos with a purpose: people leaving large amounts of tips in restaurants and another showing a young woman giving money to street vendors. The influencers indicated that the money was mainly from donations from their followers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I made a video asking for donations to help the homeless,” said Morales, whose name on social media is @Juixxe, a play on his nickname Juice.\u003c/p>\n\u003cp>And it worked. He received some donations, which he used to buy food and water for the homeless. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His target, however, was the Latino immigrant community.\u003c/p>\n\u003cp>Morales, who is the son of Mexican immigrants, was born and raised in Illinois and moved to San Diego a few years ago. He lived in Los Angeles for a year and noticed a high number of street vendors.\u003c/p>\n\u003cp>Most of them are older and undocumented, he recalled. This really hit close to home as he remembered the daily struggles of his parents.\u003c/p>\n\u003cp>“My dad worked multiple jobs and my mom was a server and she would tell me that sometimes people would tip her pennies,” Morales said.\u003c/p>\n\u003cp>To honor the hard work of immigrants he began working on videos with a purpose: the money raised from his followers would be used to search for random street vendors to give it to them.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@juixxe/video/6895084234248162566\" data-video-id=\"6895084234248162566\">\n\u003csection>\u003ca title=\"@juixxe\" href=\"https://www.tiktok.com/@juixxe\" target=\"_blank\" rel=\"noopener noreferrer\">@juixxe\u003c/a>Always supporting our street vendors! 🙏🏽 \u003ca title=\"juixxe\" href=\"https://www.tiktok.com/tag/juixxe\" target=\"_blank\" rel=\"noopener noreferrer\">#Juixxe\u003c/a> \u003ca title=\"streetvendor\" href=\"https://www.tiktok.com/tag/streetvendor\" target=\"_blank\" rel=\"noopener noreferrer\">#StreetVendor\u003c/a> \u003ca title=\"giveback\" href=\"https://www.tiktok.com/tag/giveback\" target=\"_blank\" rel=\"noopener noreferrer\">#Giveback\u003c/a>\n\u003cp>\u003ca title=\"♬ original sound - Jesús\" href=\"https://www.tiktok.com/music/original-sound-6895084249473469190\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Jesús\u003c/a>\u003c/p>\n\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>Blessings from strangers\u003c/h3>\n\u003cp>Morales has distributed more than $90,000 in donations to street vendors throughout California but primarily in Los Angeles. He said his followers have donated anywhere from a few dollars to $1,000 in a single transaction.\u003c/p>\n\u003cp>Juixxe distributes the money once or twice a week, depending on the amount he collects.\u003c/p>\n\u003cp>He has a peculiar way of delivering the money. He asks to buy all their merchandise and when the sellers accept, Morales offers them money. He usually hands them $1,000 in an envelope and tells them to keep the merchandise.\u003c/p>\n\u003cp>It is very common to see on the videos street vendors shocked with the news, eventually thanking him for the gesture and sending blessings to his followers.\u003c/p>\n\u003cp>Some even kneel in amazement.\u003c/p>\n\u003cp>Morales said that these types of videos have filled him with inexplicable joy.\u003c/p>\n\u003cp>“I do not know (the sellers) nor do I know what they are going through,” Morales said, “I would not say that I come at a perfect time, but it is a visit with a purpose.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@juixxe/video/6921152988044070150\" data-video-id=\"6921152988044070150\">\n\u003csection>\u003ca title=\"@juixxe\" href=\"https://www.tiktok.com/@juixxe\" target=\"_blank\" rel=\"noopener noreferrer\">@juixxe\u003c/a>They were only expecting $8 🥺 \u003ca title=\"juixxe\" href=\"https://www.tiktok.com/tag/juixxe\" target=\"_blank\" rel=\"noopener noreferrer\">#juixxe\u003c/a>\n\u003cp>\u003ca title=\"♬ оригинальный звук - nlaims\" href=\"https://www.tiktok.com/music/%D0%BE%D1%80%D0%B8%D0%B3%D0%B8%D0%BD%D0%B0%D0%BB%D1%8C%D0%BD%D1%8B%D0%B9-%D0%B7%D0%B2%D1%83%D0%BA-6865193361293216517\" target=\"_blank\" rel=\"noopener noreferrer\">♬ оригинальный звук – nlaims\u003c/a>\u003c/p>\n\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>A full-time job\u003c/h3>\n\u003cp>A few months into the TikTok video creating, Juixxe made it his full-time job. Now he has more than a million followers and his videos have thousands of views. It is from these views that he receives his salary as well as from sponsors.\u003c/p>\n\u003cp>“Never in my life would I have imagined that I would be doing TikTok for a living,” Morales said. “The interaction with the sellers takes a little time and I can do the editing of the video in about 20 or 30 minutes.”\u003c/p>\n\u003cp>Morales said after handing over the donation to the sellers, he waits a few days or weeks to post the video on social media. He also makes sure to cover the faces of the street vendors who appear in the videos. All of this is done for their safety.\u003c/p>\n\u003cp>“I would hate any street vendor to be targeted and be robbed,” said Juixxe, who travels once or twice a week from San Diego to Los Angeles to deliver to those most in need.\u003c/p>\n\u003cp>Morales has always wanted to make these kinds of videos but had to overcome his fear of failure.\u003c/p>\n\u003cp>“You know you have to fail to be successful,” he said, “and I have failed many times in my life. This is the only thing I can say that I have not failed.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article is part of the \u003ca href=\"https://calmatters.org/projects/california-divide/\" target=\"_blank\" rel=\"noopener noreferrer\">California Divide\u003c/a>, a collaboration among newsrooms examining income inequality and economic survival in California.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Donuts + Chinese Food = A Very Californian Combination",
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"content": "\u003cp> \u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>[dropcap]B[/dropcap]ay Curious listener Jaimie Cohen wants to learn more about the \u003ca href=\"https://time.com/2837756/donut-or-doughnut/\">doughnut\u003c/a> and Chinese food shops she’s seen around the Bay Area:\u003c/p>\n\u003cp>“Why are there restaurants that serve Chinese food, doughnuts and burgers all in one location? And why are there so many of them specifically in the Bay Area? What is the history of it happening here?”\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Doughnuts have long been a favorite \u003ca href=\"https://www.smithsonianmag.com/history/the-history-of-the-doughnut-150405177/\">American treat\u003c/a>. But what if you could get some lo mein or fried rice while grabbing a dozen of your favorite crullers? It’s a uniquely Californian combination with an unexpected history.\u003c/p>\n\u003ch3>Inside the Mission District’s ‘China Express and Donut’\u003c/h3>\n\u003cp>Those passing through the 24th Street / Mission BART station may have seen the doughnut shop that first piqued Jaimie Cohen’s curiosity. It sits right on the corner: “Chinese Food and Donuts” in bold red lettering.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The shop’s owner, Jolly Chan, immigrated from Cambodia in 1981. He started off in Los Angeles, where he lived until 1985 when he moved up to San Francisco and started China Express and Donut in 1993. “I continue until now,” Chan says.\u003c/p>\n\u003cp>The walls of Chan’s shop flash with neon signs spotlighting the two wildly different foods he serves. He points to his daily array of doughnuts: glazed, sugar and sprinkles. A few feet away, he also offers a buffet of Chinese food classics, including chicken fried rice, pot stickers and sweet and sour pork.\u003c/p>\n\u003cfigure id=\"attachment_11871927\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11871927 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/04/Chinese-and-donuts3.jpg\" alt=\"People wait for the bus across the street from China Express, a restaurant serving chinese food and donuts, on 24th and Mission Streets in San Francisco\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts3-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">People wait for the bus across the street from China Express, a restaurant serving Chinese food and doughnuts, on 24th and Mission Streets in San Francisco on March 19, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A little spicy, a little sweet,” he laughs.\u003c/p>\n\u003cp>The beauty of his operation is that regulars can grab their coffee and a doughnut in the morning and a plate of orange chicken in the afternoon — all for under $10, he says.\u003c/p>\n\u003cp>Chan learned the ins and outs of this deep fried duo when he first immigrated to Los Angeles. While working at a Chinese restaurant, he learned to make doughnuts from friends who had also recently immigrated from Cambodia.\u003c/p>\n\u003cp>Those friends, he said, learned from one very unlikely entrepreneur: “Ted Ngoy, the king of doughnut.”\u003c/p>\n\u003ch3>Ted Ngoy, the Donut King, Sweeps California\u003c/h3>\n\u003cp>[dropcap]T[/dropcap]he Donut King is largely responsible for building a doughnut dynasty across California.\u003c/p>\n\u003cp>Ted Ngoy fled Cambodia after the \u003ca href=\"https://www.ushmm.org/genocide-prevention/countries/cambodia/case-study/background/origins-of-the-khmer-rouge\">Khmer Rouge\u003c/a> rose to power during the country’s civil war. In 1975, he arrived at Camp Pendleton, a refugee camp in San Diego County, without a penny to his name. Ngoy was working at a gas station in Tustin, California to support his wife and three children when he smelled a sweet aroma from a nearby doughnut shop.\u003c/p>\n\u003cp>“I remember it was a slow night, about midnight, and there was no traffic,” says Ngoy in \u003ca href=\"https://www.imdb.com/title/tt10214496/\">\u003cem>The Donut King\u003c/em>\u003c/a>, a recent documentary about his life by filmmaker Alice Gu (premiering on KQED Channel 9, May 24, 2021 at 10pm). “I ran real fast to come to this window right here. I say, ‘Lady, I would like to buy some doughnut.’ She said, ‘Okay, I’ll sell you a dozen doughnut.'”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"1920\" height=\"480\" src=\"https://www.youtube.com/embed/sY2jXx0OP88\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>It was love at first bite. Ngoy set out to learn how to make doughnuts himself.\u003c/p>\n\u003cp>He applied and got accepted to a training program with \u003ca href=\"https://en.wikipedia.org/wiki/Winchell%27s_Donuts\">Winchell’s Donut House\u003c/a>, then the leading doughnut chain in California. The company gave him a store to manage, and before long, Ngoy scraped together the money to buy his own shop. Then he bought another and another. Within a decade, he owned 70 doughnut shops across California.\u003c/p>\n\u003cp>Those iconic pink doughnut boxes were his idea. Before Ngoy came along, doughnuts in the U.S were typically sold in a white box.\u003c/p>\n\u003cp>“One day I asked the salesman, ‘How about we create some kind of pink box?'” Ngoy says in The Donut King. “The pink box costs a lot less. Even a dime or two dimes. We can save a lot of money.”\u003c/p>\n\u003cp>Ngoy was a shrewd businessman who shared his fortune with other immigrants. He sponsored over 100 Cambodian families to immigrate to the United States and even welcomed them to stay in his mansion when they first arrived.\u003c/p>\n\u003cp>Ngoy also taught dozens of Cambodian immigrants to make doughnuts. At one point, there were \u003ca href=\"https://www.latimes.com/entertainment-arts/movies/story/2020-10-29/review-the-donut-king-documentary\">reportedly over 5,000\u003c/a> independent doughnut shops sprinkled across the state — roughly 90 percent of them owned by Cambodians. Initially, most of these immigrant-owned, mom and pop shops were concentrated in Southern California, but it was only a matter of time before they began migrating up to the Bay Area.\u003c/p>\n\u003ch3>Supporting One Another to Get Ahead\u003c/h3>\n\u003cp>Decades after Ngoy took California’s doughnut scene by storm, these fried sweet treats still represent the promise of a better life. Dorothy Chow of B & H Bakery Distributors, a Cambodian-American-owned company, supplies doughnut ingredients throughout Northern California.\u003c/p>\n\u003cfigure id=\"attachment_11871926\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11871926 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/04/Chinese-and-donuts2.jpg\" alt=\"The donut case at China Express and Donuts on Mission Street in San Francisco\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The doughnut case at China Express and Donut on Mission Street in San Francisco on April 16, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically [B&H] started to try and create another option to help our own people,” says Chow.\u003c/p>\n\u003cp>Chow’s dad started running the business decades ago as an alternative to the giant companies that held a monopoly on doughnut supplies, Chow says. As a survivor of the \u003ca href=\"https://en.wikipedia.org/wiki/Cambodian_Civil_War\">Cambodian Civil War\u003c/a> and resulting \u003ca href=\"https://en.wikipedia.org/wiki/Cambodian_genocide\">genocide\u003c/a>, his singular motivation was to support refugees like himself.\u003c/p>\n\u003cp>“My dad is actually one of the first groups that escaped out of Cambodia,” says Chow. “He was caught into the labor camps that were happening at the time. He’s seen really horrific things. And I’m sure a lot of these doughnut shop owners have their own experiences.”\u003c/p>\n\u003cp>Going to her dad’s warehouse and selling doughnuts in the summer, Chow spent a lot of time with people who had just come from Cambodia. They worked hard to get a better life for their kids. And took advantage of the resources and knowledge around them in their community, learning to cook new cuisines and how to run businesses in America.\u003c/p>\n\u003cp>“If you’ve gone through war and you’ve been able to escape,” says Chow. “If you’ve lost your family and you’ve seen terrible things, owning a doughnut shop is a piece of cake.”\u003c/p>\n\u003ch3>Adapting to Survive and Thrive\u003c/h3>\n\u003cp>[dropcap]M[/dropcap]ost Cambodian-owned doughnut shops focus on the dessert. However, others have the space, skills and equipment to make high-profit fast foods that cater to American tastes, like hot dogs and hamburgers. Chow says a majority of these doughnut crossover shops are in urban spaces, including San Francisco and Oakland.\u003c/p>\n\u003cp>For China Express and Donut owner Jolly Chan, the combination of the two tasty treats came out of necessity. Everything in the Bay Area is so expensive, he says, “We have to sell more stuff to make up the rent and the expense.”\u003c/p>\n\u003cp>Doughnut shops in less expensive areas can afford to close when they’ve sold out, but that’s not an option for Chan. He decided to incorporate another food option to appeal to the lunch crowd. He says he considered burgers, but that would mean competing with the McDonald’s across the street. He thought Chinese food would help his shop stand out on a crowded corner.\u003c/p>\n\u003cfigure id=\"attachment_11871932\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11871932\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/04/Chinese-and-donuts5.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts5-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">China Express employee Kyi Sin Hnin Htet helps a customer at the restaurant on 24th and Mission Streets in San Francisco on March 19, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chan says the majority of his customers are locals and commuters — 80 percent are Latino.\u003c/p>\n\u003cp>“They love it,” he said. However, he has noticed a drop in business since the Mission District started gentrifying.\u003c/p>\n\u003cp>Chan says once Valencia Street started changing, younger people moved to the area. And they have different tastes.\u003c/p>\n\u003cp>“They don’t like the food that we sell, the doughnuts that we sell. They eat different food,” he says.\u003c/p>\n\u003cp>Chan’s shop specializes in old fashioned treats, like gooey raspberry jelly doughnuts or cake doughnuts with rainbow sprinkles.\u003c/p>\n\u003cp>“What doughnuts used to be,” he says. “The traditional doughnut.”\u003c/p>\n\u003cp>Neighboring independent doughnut shops like \u003ca href=\"https://dynamodonut.com/\">Dynamo Donut\u003c/a> that sell artisanal, seasonal and organic doughnuts at a much higher price point than Chan’s doughnuts are the new trend. And Chan says during the coronavirus shutdowns, his sales dropped more than 50 percent.\u003c/p>\n\u003cp>His business used to be a 50-50 split between customers who would do takeaway and those who would eat inside. During the pandemic, the takeaway orders didn’t make up for the loss of indoor dining.\u003c/p>\n\u003cp>As a Cambodian entrepreneur, Chan is no stranger to thriving under difficult circumstances. But, he says that if things don’t look up soon he’s not sure he can continue to adapt. He worries his shop won’t survive the next year.\u003c/p>\n\u003cp>“We cannot make it,” he says.\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">This is Bay Curious, the show that answers listener questions about the San Francisco Bay Area. I’m Olivia Allen-Price.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">You know how most offices have a “food table?” Some communal spot where you might find extra lemons from someone’s tree … or a bag of leftover Halloween candy … or, on a lucky day, the fresh scones your baking-obsessed colleague whipped together that morning. At KQED, I can’t walk by our food table without taking a glance. You know, just in case something delicious is on offer. Nothing gets me quite as excited as when I spot a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">little pink cardboard box. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">Under the flap await a dozen golden doughnuts – just waiting to become my second breakfast.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">This particular pink box is from a shop just a few blocks away in San Francisco’s Mission District that’s grabbed the attention of our question asker today, Jaime Cohen. Because they have more than donuts for sale…\u003c/span>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003cb>Jamie Cohen: \u003c/b>\u003cspan style=\"font-weight: 400;\">So my question is, why are there restaurants that serve Chinese food, doughnuts, and burgers all in one location?\u003c/span>\u003cb>\u003cbr>\n\u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400;\">This is a winning combination Jamie has only seen in California and she wants to know why. Today on the show, we’re exploring the fascinating history and the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">donut king\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> behind it all. This story first aired in 2021, but its one that still makes my mouth water. Stick around. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">[[SPONSOR MESSAGE]]\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Reporter Asal Ehsanipour called Jamie Cohen to find out more about her obsession with donut places that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">also \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">serve Chinese food.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Paint me a picture. Can you remember the first time that you saw a sign that said Chinese food and doughnuts, or doughnuts and hamburgers or whatever the combination is? What were you thinking? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jamie Cohen:\u003c/b> \u003cspan style=\"font-weight: 400;\">So the very first time we ever–I ever noticed it, it was my husband and I. We pointed it out to each other and it said doughnuts and Chinese food and hamburgers. Why are there so many of them? And specifically in the Bay Area– what is the history of it happening here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I’ll see if I can find out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jamie Cohen: \u003c/b>\u003cspan style=\"font-weight: 400;\">I want to know the history. What’s the history? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">OK, you got it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jamie Cohen: \u003c/b>\u003cspan style=\"font-weight: 400;\">Okay, cool.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">[STREET NOISE]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">If you’ve ever gotten off at the 24th Street / Mission BART station, you’ve probably seen the doughnut shop that first piqued Jaime’s curiosity. It’s right on the corner: “Chinese Food and Donuts” in bold red lettering. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Did you eat breakfast today?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan:\u003c/b>\u003cspan style=\"font-weight: 400;\"> Yes. Early mornings, sometimes I feel hungry. I just grab a doughnut. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">[laugh]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">This is Jolly Chan, the owner of China Express and Donut.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I’m an immigrant from Cambodia. I came to United States in 1981 and I have my small business started in 1985 in Los Angeles. And I move up to San Francisco and have this corner store in early 1993. And continue until now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Jolly’s shop is understated. On the wall there are neon signs flashing the two wildly different foods he serves. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan:\u003c/b>\u003cspan style=\"font-weight: 400;\"> The doughnut that we have every day – have glaze, have sugar.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Doughnut holes, sprinkles, there’s chocolate. A few feet away — there’s a buffet style array of Chinese food classics. Like chicken fried rice, pot stickers, and sweet and sour pork. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">The most popular item for the Chinese food is the hot chicken wings, the teriyaki chicken and the broccoli beef. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">What’s your favorite?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">The hot wings and the broccoli. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Jolly says the beauty of this operation is that people can buy lunch and dinner for under 10 bucks. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">Yeah because it’s a local customer. Yeah. it’s not a tourist spot. It’s a local. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Regulars can grab their coffee and a doughnut in the morning… And a plate of orange chicken in the afternoon. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">A little spicy, a little sweet.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">To some, it may seem like an unconventional pairing. But for \u003c/span>\u003cspan style=\"font-weight: 400;\">Jolly, this deep fried duo makes perfect sense. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">Yeah, because I know both. Donut and Chinese food. I used to cook Chinese food in Los Angeles.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">…Which is also where he learned how to make doughnuts. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">Yeah I learned it from my friend and the friend learned, yeah, it from each other. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">And those friends learned from one very unlikely entrepreneur: \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">Ted Ngoy, the king of donut. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">[laugh]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Ted Ngoy. The Donut \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">King\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Donut King: \u003c/b>\u003cspan style=\"font-weight: 400;\">Donut time!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">The Donut King is pretty much single-handedly responsible for building a doughnut dynasty across California. Ted was a refugee who fled Cambodia after the Khmer Rouge rose to power during the country’s civil war. In 1975, he arrived in California without a penny to his name. One day, he was working at a gas station when he smelled a sweet aroma from a nearby doughnut shop. Here he is in a recent documentary made by Alice Gu, aptly called “The Donut King.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ted Ngoy:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I remember it was a slow night, about midnight and there’s no traffic. I ran real fast to come to this window right here. I say, ‘Lady, I would like to buy some doughnut.’ She said, ‘Okay, I’ll sell you a dozen doughnut.’ I fell in love with doughnuts from that moment that I had a bite. Doughnuts remind me of a cake called nom-ko in Cambodia. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">It was love at first bite. Ted applied and got accepted to a training program with Winchell’s Donut House. Before long he’d scraped together the money to buy his own shop. And then another. And then another. Within a decade, he owned 70 doughnut shops across California. And, get this… Those iconic pink boxes? That was Ted. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ted Ngoy: \u003c/b>\u003cspan style=\"font-weight: 400;\">Before we come to the picture, American people always use a white box. One day I asked the salesman, say ‘How about we create some kind of pink box? The pink box costs a lot less. Even a dime or two dime. We can save a lot of money.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Ted had a knack for business and he shared his fortune with other immigrants. He sponsored over 100 Cambodian families to immigrate to the US and when they arrived he would literally open up his mansion to them. And he taught them how to make donuts. At one point, there were reportedly over 5,000 independent doughnut shops sprinkled around the state. Roughly 90 percent were owned by Cambodians. Most were concentrated in Southern California but pretty soon these immigrant-owned mom and pop shops started opening up in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dorothy Chow: \u003c/b>\u003cspan style=\"font-weight: 400;\">We distribute currently all throughout Northern California. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">This is Dorothy Chow of B and H Bakery Distributors, a Cambodian American-owned company that supplies doughnut ingredients\u003c/span>\u003cb>. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Dorothy Chow: \u003c/b>\u003cspan style=\"font-weight: 400;\">Basically the whole purpose is it started to just try and create another option to help our own people. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Dorothy’s dad started running the business decades ago as an alternative to the giant companies that held a monopoly on doughnut supplies. His singular motivation was to support Cambodian refugees like himself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dorothy Chow: \u003c/b>\u003cspan style=\"font-weight: 400;\">My dad is actually one of the first groups that escaped out of Cambodia. And on top of that he was caught into the labor camps that were happening at the time. He’s seen really, really horrific things and I’m sure a lot of these doughnut shop owners have their own experiences. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Going to her dad’s warehouse and selling donuts in the summer, Dorothy spent a lot of time with people who had just come from Cambodia. They worked hard to get a better life for their kids. And took advantage of the resources and knowledge around them in their community, learning to cook new cuisines and run businesses. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dorothy Chow: \u003c/b>\u003cspan style=\"font-weight: 400;\">I mean if you’ve gone through war and you’ve been able to escape. You’ve lost your family and you’ve seen terrible things, you know, owning a doughnuts shop is a piece of cake. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Of course, most of these shops deal strictly in doughnuts. But others have the space, skills, and equipment to make high profit fast foods that cater to Americans tastes, like hot dogs and hamburgers. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dorothy Chow:\u003c/b>\u003cspan style=\"font-weight: 400;\"> Why not make something that can make more money? You know, doughnuts are fast food that you can get. And they’re trying to do the same thing with that lunch category. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Dorothy says there are more donut-Chinese crossover shops in urban areas – like San Francisco and Oakland. \u003c/span>\u003cspan style=\"font-weight: 400;\">The reason why? It’s back at Jolly Chan’s restaurant near the 24th Street Bart station. Hi, can I get a veggie deluxe please? And I’ll get a \u003c/span>\u003cspan style=\"font-weight: 400;\">doughnut\u003c/span>\u003cspan style=\"font-weight: 400;\">, too.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Jolly Chan says, for him – the combination of doughnuts and Chinese food came out of necessity. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan:\u003c/b>\u003cspan style=\"font-weight: 400;\"> The rent, the cost of employee, the cost of everything in Bay Area is higher than other places. We have to sell more stuff to make up the rent and the expense. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Doughnut shops in less expensive areas can \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">afford\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> to close when they’ve sold out. But closing at noon is impossible in urban areas where the rents are higher. So Jolly had to incorporate another food option to appeal to the lunch crowd. He considered burgers, but that would mean competing with the McDonalds across the street. He already knew how to make Chinese food from his early days in the US, and it helped his shop stand out on a crowded corner. Jolly says his customers are local to the Mission District. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">80 percent Latino. 80 percent Latino. They love it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Or, the folks that used to be local. That’s all changing now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">In the 90s a lot of Latino, a lot of live in this Mission District. But now after they develop the Valencia, yeah a lot of younger people. They are coming and they don’t like the way that we sell. The food that we sell. The donuts that we sell. They eat different food.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Jolly says he’s struggled to keep up with the changes in the Mission. He specializes in the good old fashioned stuff. Like – those gooey raspberry jelly donuts, or cake donuts with rainbow sprinkles. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">What donut used to be.\u003c/span>\u003cb>\u003cbr>\n\u003c/b>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">What did donuts used to be?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">The traditional donut. Not the one that they make up like a cake like a decoration that cost more than the regular one, yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">He’s talking about shops like Dynamo Donuts on 24th Street just a few blocks over. They sell donuts that are local, artisanal, seasonal, organic – you get it. And that competition has been hard for Jolly. Cambodian entrepreneurs like Jolly Chan are survivors. They left their homeland. And through sheer grit, they were able to thrive here in California. But, according to Jolly, everything is changing so fast. And after all this time, he’s not sure he has the energy to keep up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">That was reporter Asal Ehsanipour. We do have an update since this story aired. China Express and Donut DID survive the challenges of the pandemic. Jolly Chan still owns the shop, though he is looking for his next step. Retirement perhaps. The business is for sale. So if you’re interested, give him a call.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">We’ve got a brand new voting round to kick off the new year – Here’s what’s up for consideration: \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Who is “Stevens” and why is Stevens Creek in San Jose and Cupertino named after him or her?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Why does San Jose have such a high concentration of Vietnamese people?\u003c/span>\u003c/p>\n\u003cp>I see peacocks sometimes in the East Foothills of San Jose. They certainly are not native to California. How did they get here?\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Head to BayCuriuos.org to vote for which question you’d like to hear on the program. It only takes a few seconds! \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">This episode of Bay Curious was made in 2021 by Katie McMurran, Suzie Racho and Katrina Schwartz. It was updated this week by Christopher Beale, Olivia Allen-Price, Amanda Font and Ana De Almeida Amaral. Our show is a production of member-supported KQED in San Francisco. I’m Olivia Allen-Price. Have a great week!\u003c/span>\u003c/p>\n\n",
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"excerpt": "Small businesses that sell doughnuts and Chinese food are a common sight in California. Many of their owners are Cambodian immigrants who escaped the Khamer Rouge.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>ay Curious listener Jaimie Cohen wants to learn more about the \u003ca href=\"https://time.com/2837756/donut-or-doughnut/\">doughnut\u003c/a> and Chinese food shops she’s seen around the Bay Area:\u003c/p>\n\u003cp>“Why are there restaurants that serve Chinese food, doughnuts and burgers all in one location? And why are there so many of them specifically in the Bay Area? What is the history of it happening here?”\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>Doughnuts have long been a favorite \u003ca href=\"https://www.smithsonianmag.com/history/the-history-of-the-doughnut-150405177/\">American treat\u003c/a>. But what if you could get some lo mein or fried rice while grabbing a dozen of your favorite crullers? It’s a uniquely Californian combination with an unexpected history.\u003c/p>\n\u003ch3>Inside the Mission District’s ‘China Express and Donut’\u003c/h3>\n\u003cp>Those passing through the 24th Street / Mission BART station may have seen the doughnut shop that first piqued Jaimie Cohen’s curiosity. It sits right on the corner: “Chinese Food and Donuts” in bold red lettering.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The shop’s owner, Jolly Chan, immigrated from Cambodia in 1981. He started off in Los Angeles, where he lived until 1985 when he moved up to San Francisco and started China Express and Donut in 1993. “I continue until now,” Chan says.\u003c/p>\n\u003cp>The walls of Chan’s shop flash with neon signs spotlighting the two wildly different foods he serves. He points to his daily array of doughnuts: glazed, sugar and sprinkles. A few feet away, he also offers a buffet of Chinese food classics, including chicken fried rice, pot stickers and sweet and sour pork.\u003c/p>\n\u003cfigure id=\"attachment_11871927\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11871927 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/04/Chinese-and-donuts3.jpg\" alt=\"People wait for the bus across the street from China Express, a restaurant serving chinese food and donuts, on 24th and Mission Streets in San Francisco\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts3-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">People wait for the bus across the street from China Express, a restaurant serving Chinese food and doughnuts, on 24th and Mission Streets in San Francisco on March 19, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A little spicy, a little sweet,” he laughs.\u003c/p>\n\u003cp>The beauty of his operation is that regulars can grab their coffee and a doughnut in the morning and a plate of orange chicken in the afternoon — all for under $10, he says.\u003c/p>\n\u003cp>Chan learned the ins and outs of this deep fried duo when he first immigrated to Los Angeles. While working at a Chinese restaurant, he learned to make doughnuts from friends who had also recently immigrated from Cambodia.\u003c/p>\n\u003cp>Those friends, he said, learned from one very unlikely entrepreneur: “Ted Ngoy, the king of doughnut.”\u003c/p>\n\u003ch3>Ted Ngoy, the Donut King, Sweeps California\u003c/h3>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he Donut King is largely responsible for building a doughnut dynasty across California.\u003c/p>\n\u003cp>Ted Ngoy fled Cambodia after the \u003ca href=\"https://www.ushmm.org/genocide-prevention/countries/cambodia/case-study/background/origins-of-the-khmer-rouge\">Khmer Rouge\u003c/a> rose to power during the country’s civil war. In 1975, he arrived at Camp Pendleton, a refugee camp in San Diego County, without a penny to his name. Ngoy was working at a gas station in Tustin, California to support his wife and three children when he smelled a sweet aroma from a nearby doughnut shop.\u003c/p>\n\u003cp>“I remember it was a slow night, about midnight, and there was no traffic,” says Ngoy in \u003ca href=\"https://www.imdb.com/title/tt10214496/\">\u003cem>The Donut King\u003c/em>\u003c/a>, a recent documentary about his life by filmmaker Alice Gu (premiering on KQED Channel 9, May 24, 2021 at 10pm). “I ran real fast to come to this window right here. I say, ‘Lady, I would like to buy some doughnut.’ She said, ‘Okay, I’ll sell you a dozen doughnut.'”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"1920\" height=\"480\" src=\"https://www.youtube.com/embed/sY2jXx0OP88\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>It was love at first bite. Ngoy set out to learn how to make doughnuts himself.\u003c/p>\n\u003cp>He applied and got accepted to a training program with \u003ca href=\"https://en.wikipedia.org/wiki/Winchell%27s_Donuts\">Winchell’s Donut House\u003c/a>, then the leading doughnut chain in California. The company gave him a store to manage, and before long, Ngoy scraped together the money to buy his own shop. Then he bought another and another. Within a decade, he owned 70 doughnut shops across California.\u003c/p>\n\u003cp>Those iconic pink doughnut boxes were his idea. Before Ngoy came along, doughnuts in the U.S were typically sold in a white box.\u003c/p>\n\u003cp>“One day I asked the salesman, ‘How about we create some kind of pink box?'” Ngoy says in The Donut King. “The pink box costs a lot less. Even a dime or two dimes. We can save a lot of money.”\u003c/p>\n\u003cp>Ngoy was a shrewd businessman who shared his fortune with other immigrants. He sponsored over 100 Cambodian families to immigrate to the United States and even welcomed them to stay in his mansion when they first arrived.\u003c/p>\n\u003cp>Ngoy also taught dozens of Cambodian immigrants to make doughnuts. At one point, there were \u003ca href=\"https://www.latimes.com/entertainment-arts/movies/story/2020-10-29/review-the-donut-king-documentary\">reportedly over 5,000\u003c/a> independent doughnut shops sprinkled across the state — roughly 90 percent of them owned by Cambodians. Initially, most of these immigrant-owned, mom and pop shops were concentrated in Southern California, but it was only a matter of time before they began migrating up to the Bay Area.\u003c/p>\n\u003ch3>Supporting One Another to Get Ahead\u003c/h3>\n\u003cp>Decades after Ngoy took California’s doughnut scene by storm, these fried sweet treats still represent the promise of a better life. Dorothy Chow of B & H Bakery Distributors, a Cambodian-American-owned company, supplies doughnut ingredients throughout Northern California.\u003c/p>\n\u003cfigure id=\"attachment_11871926\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11871926 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/04/Chinese-and-donuts2.jpg\" alt=\"The donut case at China Express and Donuts on Mission Street in San Francisco\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The doughnut case at China Express and Donut on Mission Street in San Francisco on April 16, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically [B&H] started to try and create another option to help our own people,” says Chow.\u003c/p>\n\u003cp>Chow’s dad started running the business decades ago as an alternative to the giant companies that held a monopoly on doughnut supplies, Chow says. As a survivor of the \u003ca href=\"https://en.wikipedia.org/wiki/Cambodian_Civil_War\">Cambodian Civil War\u003c/a> and resulting \u003ca href=\"https://en.wikipedia.org/wiki/Cambodian_genocide\">genocide\u003c/a>, his singular motivation was to support refugees like himself.\u003c/p>\n\u003cp>“My dad is actually one of the first groups that escaped out of Cambodia,” says Chow. “He was caught into the labor camps that were happening at the time. He’s seen really horrific things. And I’m sure a lot of these doughnut shop owners have their own experiences.”\u003c/p>\n\u003cp>Going to her dad’s warehouse and selling doughnuts in the summer, Chow spent a lot of time with people who had just come from Cambodia. They worked hard to get a better life for their kids. And took advantage of the resources and knowledge around them in their community, learning to cook new cuisines and how to run businesses in America.\u003c/p>\n\u003cp>“If you’ve gone through war and you’ve been able to escape,” says Chow. “If you’ve lost your family and you’ve seen terrible things, owning a doughnut shop is a piece of cake.”\u003c/p>\n\u003ch3>Adapting to Survive and Thrive\u003c/h3>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>ost Cambodian-owned doughnut shops focus on the dessert. However, others have the space, skills and equipment to make high-profit fast foods that cater to American tastes, like hot dogs and hamburgers. Chow says a majority of these doughnut crossover shops are in urban spaces, including San Francisco and Oakland.\u003c/p>\n\u003cp>For China Express and Donut owner Jolly Chan, the combination of the two tasty treats came out of necessity. Everything in the Bay Area is so expensive, he says, “We have to sell more stuff to make up the rent and the expense.”\u003c/p>\n\u003cp>Doughnut shops in less expensive areas can afford to close when they’ve sold out, but that’s not an option for Chan. He decided to incorporate another food option to appeal to the lunch crowd. He says he considered burgers, but that would mean competing with the McDonald’s across the street. He thought Chinese food would help his shop stand out on a crowded corner.\u003c/p>\n\u003cfigure id=\"attachment_11871932\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11871932\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/04/Chinese-and-donuts5.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/04/Chinese-and-donuts5-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">China Express employee Kyi Sin Hnin Htet helps a customer at the restaurant on 24th and Mission Streets in San Francisco on March 19, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chan says the majority of his customers are locals and commuters — 80 percent are Latino.\u003c/p>\n\u003cp>“They love it,” he said. However, he has noticed a drop in business since the Mission District started gentrifying.\u003c/p>\n\u003cp>Chan says once Valencia Street started changing, younger people moved to the area. And they have different tastes.\u003c/p>\n\u003cp>“They don’t like the food that we sell, the doughnuts that we sell. They eat different food,” he says.\u003c/p>\n\u003cp>Chan’s shop specializes in old fashioned treats, like gooey raspberry jelly doughnuts or cake doughnuts with rainbow sprinkles.\u003c/p>\n\u003cp>“What doughnuts used to be,” he says. “The traditional doughnut.”\u003c/p>\n\u003cp>Neighboring independent doughnut shops like \u003ca href=\"https://dynamodonut.com/\">Dynamo Donut\u003c/a> that sell artisanal, seasonal and organic doughnuts at a much higher price point than Chan’s doughnuts are the new trend. And Chan says during the coronavirus shutdowns, his sales dropped more than 50 percent.\u003c/p>\n\u003cp>His business used to be a 50-50 split between customers who would do takeaway and those who would eat inside. During the pandemic, the takeaway orders didn’t make up for the loss of indoor dining.\u003c/p>\n\u003cp>As a Cambodian entrepreneur, Chan is no stranger to thriving under difficult circumstances. But, he says that if things don’t look up soon he’s not sure he can continue to adapt. He worries his shop won’t survive the next year.\u003c/p>\n\u003cp>“We cannot make it,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003cb>Olivia Allen-Price:\u003c/b> \u003cspan style=\"font-weight: 400;\">This is Bay Curious, the show that answers listener questions about the San Francisco Bay Area. I’m Olivia Allen-Price.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">You know how most offices have a “food table?” Some communal spot where you might find extra lemons from someone’s tree … or a bag of leftover Halloween candy … or, on a lucky day, the fresh scones your baking-obsessed colleague whipped together that morning. At KQED, I can’t walk by our food table without taking a glance. You know, just in case something delicious is on offer. Nothing gets me quite as excited as when I spot a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">little pink cardboard box. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">Under the flap await a dozen golden doughnuts – just waiting to become my second breakfast.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">This particular pink box is from a shop just a few blocks away in San Francisco’s Mission District that’s grabbed the attention of our question asker today, Jaime Cohen. Because they have more than donuts for sale…\u003c/span>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003cb>Jamie Cohen: \u003c/b>\u003cspan style=\"font-weight: 400;\">So my question is, why are there restaurants that serve Chinese food, doughnuts, and burgers all in one location?\u003c/span>\u003cb>\u003cbr>\n\u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400;\">This is a winning combination Jamie has only seen in California and she wants to know why. Today on the show, we’re exploring the fascinating history and the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">donut king\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> behind it all. This story first aired in 2021, but its one that still makes my mouth water. Stick around. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">[[SPONSOR MESSAGE]]\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">Reporter Asal Ehsanipour called Jamie Cohen to find out more about her obsession with donut places that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">also \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">serve Chinese food.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Paint me a picture. Can you remember the first time that you saw a sign that said Chinese food and doughnuts, or doughnuts and hamburgers or whatever the combination is? What were you thinking? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jamie Cohen:\u003c/b> \u003cspan style=\"font-weight: 400;\">So the very first time we ever–I ever noticed it, it was my husband and I. We pointed it out to each other and it said doughnuts and Chinese food and hamburgers. Why are there so many of them? And specifically in the Bay Area– what is the history of it happening here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I’ll see if I can find out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jamie Cohen: \u003c/b>\u003cspan style=\"font-weight: 400;\">I want to know the history. What’s the history? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">OK, you got it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jamie Cohen: \u003c/b>\u003cspan style=\"font-weight: 400;\">Okay, cool.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">[STREET NOISE]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">If you’ve ever gotten off at the 24th Street / Mission BART station, you’ve probably seen the doughnut shop that first piqued Jaime’s curiosity. It’s right on the corner: “Chinese Food and Donuts” in bold red lettering. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Did you eat breakfast today?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan:\u003c/b>\u003cspan style=\"font-weight: 400;\"> Yes. Early mornings, sometimes I feel hungry. I just grab a doughnut. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">[laugh]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">This is Jolly Chan, the owner of China Express and Donut.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I’m an immigrant from Cambodia. I came to United States in 1981 and I have my small business started in 1985 in Los Angeles. And I move up to San Francisco and have this corner store in early 1993. And continue until now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Jolly’s shop is understated. On the wall there are neon signs flashing the two wildly different foods he serves. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan:\u003c/b>\u003cspan style=\"font-weight: 400;\"> The doughnut that we have every day – have glaze, have sugar.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Doughnut holes, sprinkles, there’s chocolate. A few feet away — there’s a buffet style array of Chinese food classics. Like chicken fried rice, pot stickers, and sweet and sour pork. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">The most popular item for the Chinese food is the hot chicken wings, the teriyaki chicken and the broccoli beef. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">What’s your favorite?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">The hot wings and the broccoli. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Jolly says the beauty of this operation is that people can buy lunch and dinner for under 10 bucks. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">Yeah because it’s a local customer. Yeah. it’s not a tourist spot. It’s a local. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Regulars can grab their coffee and a doughnut in the morning… And a plate of orange chicken in the afternoon. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">A little spicy, a little sweet.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">To some, it may seem like an unconventional pairing. But for \u003c/span>\u003cspan style=\"font-weight: 400;\">Jolly, this deep fried duo makes perfect sense. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">Yeah, because I know both. Donut and Chinese food. I used to cook Chinese food in Los Angeles.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">…Which is also where he learned how to make doughnuts. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">Yeah I learned it from my friend and the friend learned, yeah, it from each other. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">And those friends learned from one very unlikely entrepreneur: \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">Ted Ngoy, the king of donut. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">[laugh]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Ted Ngoy. The Donut \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">King\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Donut King: \u003c/b>\u003cspan style=\"font-weight: 400;\">Donut time!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">The Donut King is pretty much single-handedly responsible for building a doughnut dynasty across California. Ted was a refugee who fled Cambodia after the Khmer Rouge rose to power during the country’s civil war. In 1975, he arrived in California without a penny to his name. One day, he was working at a gas station when he smelled a sweet aroma from a nearby doughnut shop. Here he is in a recent documentary made by Alice Gu, aptly called “The Donut King.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ted Ngoy:\u003c/b>\u003cspan style=\"font-weight: 400;\"> I remember it was a slow night, about midnight and there’s no traffic. I ran real fast to come to this window right here. I say, ‘Lady, I would like to buy some doughnut.’ She said, ‘Okay, I’ll sell you a dozen doughnut.’ I fell in love with doughnuts from that moment that I had a bite. Doughnuts remind me of a cake called nom-ko in Cambodia. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">It was love at first bite. Ted applied and got accepted to a training program with Winchell’s Donut House. Before long he’d scraped together the money to buy his own shop. And then another. And then another. Within a decade, he owned 70 doughnut shops across California. And, get this… Those iconic pink boxes? That was Ted. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ted Ngoy: \u003c/b>\u003cspan style=\"font-weight: 400;\">Before we come to the picture, American people always use a white box. One day I asked the salesman, say ‘How about we create some kind of pink box? The pink box costs a lot less. Even a dime or two dime. We can save a lot of money.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Ted had a knack for business and he shared his fortune with other immigrants. He sponsored over 100 Cambodian families to immigrate to the US and when they arrived he would literally open up his mansion to them. And he taught them how to make donuts. At one point, there were reportedly over 5,000 independent doughnut shops sprinkled around the state. Roughly 90 percent were owned by Cambodians. Most were concentrated in Southern California but pretty soon these immigrant-owned mom and pop shops started opening up in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dorothy Chow: \u003c/b>\u003cspan style=\"font-weight: 400;\">We distribute currently all throughout Northern California. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">This is Dorothy Chow of B and H Bakery Distributors, a Cambodian American-owned company that supplies doughnut ingredients\u003c/span>\u003cb>. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Dorothy Chow: \u003c/b>\u003cspan style=\"font-weight: 400;\">Basically the whole purpose is it started to just try and create another option to help our own people. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Dorothy’s dad started running the business decades ago as an alternative to the giant companies that held a monopoly on doughnut supplies. His singular motivation was to support Cambodian refugees like himself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dorothy Chow: \u003c/b>\u003cspan style=\"font-weight: 400;\">My dad is actually one of the first groups that escaped out of Cambodia. And on top of that he was caught into the labor camps that were happening at the time. He’s seen really, really horrific things and I’m sure a lot of these doughnut shop owners have their own experiences. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Going to her dad’s warehouse and selling donuts in the summer, Dorothy spent a lot of time with people who had just come from Cambodia. They worked hard to get a better life for their kids. And took advantage of the resources and knowledge around them in their community, learning to cook new cuisines and run businesses. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dorothy Chow: \u003c/b>\u003cspan style=\"font-weight: 400;\">I mean if you’ve gone through war and you’ve been able to escape. You’ve lost your family and you’ve seen terrible things, you know, owning a doughnuts shop is a piece of cake. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Of course, most of these shops deal strictly in doughnuts. But others have the space, skills, and equipment to make high profit fast foods that cater to Americans tastes, like hot dogs and hamburgers. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dorothy Chow:\u003c/b>\u003cspan style=\"font-weight: 400;\"> Why not make something that can make more money? You know, doughnuts are fast food that you can get. And they’re trying to do the same thing with that lunch category. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Dorothy says there are more donut-Chinese crossover shops in urban areas – like San Francisco and Oakland. \u003c/span>\u003cspan style=\"font-weight: 400;\">The reason why? It’s back at Jolly Chan’s restaurant near the 24th Street Bart station. Hi, can I get a veggie deluxe please? And I’ll get a \u003c/span>\u003cspan style=\"font-weight: 400;\">doughnut\u003c/span>\u003cspan style=\"font-weight: 400;\">, too.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Jolly Chan says, for him – the combination of doughnuts and Chinese food came out of necessity. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan:\u003c/b>\u003cspan style=\"font-weight: 400;\"> The rent, the cost of employee, the cost of everything in Bay Area is higher than other places. We have to sell more stuff to make up the rent and the expense. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Doughnut shops in less expensive areas can \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">afford\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> to close when they’ve sold out. But closing at noon is impossible in urban areas where the rents are higher. So Jolly had to incorporate another food option to appeal to the lunch crowd. He considered burgers, but that would mean competing with the McDonalds across the street. He already knew how to make Chinese food from his early days in the US, and it helped his shop stand out on a crowded corner. Jolly says his customers are local to the Mission District. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">80 percent Latino. 80 percent Latino. They love it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Or, the folks that used to be local. That’s all changing now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">In the 90s a lot of Latino, a lot of live in this Mission District. But now after they develop the Valencia, yeah a lot of younger people. They are coming and they don’t like the way that we sell. The food that we sell. The donuts that we sell. They eat different food.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">Jolly says he’s struggled to keep up with the changes in the Mission. He specializes in the good old fashioned stuff. Like – those gooey raspberry jelly donuts, or cake donuts with rainbow sprinkles. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">What donut used to be.\u003c/span>\u003cb>\u003cbr>\n\u003c/b>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">What did donuts used to be?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jolly Chan: \u003c/b>\u003cspan style=\"font-weight: 400;\">The traditional donut. Not the one that they make up like a cake like a decoration that cost more than the regular one, yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Asal Ehsanipour: \u003c/b>\u003cspan style=\"font-weight: 400;\">He’s talking about shops like Dynamo Donuts on 24th Street just a few blocks over. They sell donuts that are local, artisanal, seasonal, organic – you get it. And that competition has been hard for Jolly. Cambodian entrepreneurs like Jolly Chan are survivors. They left their homeland. And through sheer grit, they were able to thrive here in California. But, according to Jolly, everything is changing so fast. And after all this time, he’s not sure he has the energy to keep up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400;\">That was reporter Asal Ehsanipour. We do have an update since this story aired. China Express and Donut DID survive the challenges of the pandemic. Jolly Chan still owns the shop, though he is looking for his next step. Retirement perhaps. The business is for sale. So if you’re interested, give him a call.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">We’ve got a brand new voting round to kick off the new year – Here’s what’s up for consideration: \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Who is “Stevens” and why is Stevens Creek in San Jose and Cupertino named after him or her?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Why does San Jose have such a high concentration of Vietnamese people?\u003c/span>\u003c/p>\n\u003cp>I see peacocks sometimes in the East Foothills of San Jose. They certainly are not native to California. How did they get here?\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Head to BayCuriuos.org to vote for which question you’d like to hear on the program. It only takes a few seconds! \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">This episode of Bay Curious was made in 2021 by Katie McMurran, Suzie Racho and Katrina Schwartz. It was updated this week by Christopher Beale, Olivia Allen-Price, Amanda Font and Ana De Almeida Amaral. Our show is a production of member-supported KQED in San Francisco. I’m Olivia Allen-Price. Have a great week!\u003c/span>\u003c/p>\n\n\u003c/div>"
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"content": "\u003cp>Seattle-based essayist and journalism professor Sonora Jha’s latest book, “\u003ca href=\"https://www.penguinrandomhouse.com/books/658292/how-to-raise-a-feminist-son-by-sonora-jha/\" target=\"_blank\" rel=\"noopener noreferrer\">How to Raise a Feminist Son: Motherhood, Masculinity and the Making of My Family\u003c/a>,” is both a memoir and clear set of instructions for raising an emotionally intelligent son, aimed at everyone involved in the raising of children — aunties and uncles included.\u003c/p>\n\u003cp>Jha’s first book, “Foreign,” published in 2013, is a novel with storyline that touches farmer suicides in India, as well as a mother-son relationship. But her latest book tackles topics some might see as too taboo or uncomfortable to talk to kids about, such as sex, and race, with a chapter on nursery rhymes and storytelling called “Has Mother Goose Ever Heard of Feminism?” and “Do I Really Have to Talk to Him About Sex?” Each chapter folds in Jha’s own experiences growing up in India, working as a journalist and becoming an academic in the U.S., and uses her first-hand accounts of polio, marriage, racism, divorce and everything in between. [pullquote size=\"medium\" align=\"right\" citation=\"Sonora Jha, author of 'How to Raise a Feminist Son'\"]‘I wanted my son to be able to cry … to express heartbreak and not feel like he has to hide it.’[/pullquote]\u003c/p>\n\u003cp>Jha’s words are powerful. Even before she began writing her most recent book — a \u003ca href=\"https://medium.com/@sonorajha/dear-india-when-youre-done-marching-for-asifa-clean-up-your-homes-42ed8abb5a04\" target=\"_blank\" rel=\"noopener noreferrer\">2018 essay\u003c/a> she wrote in a state of rage nearly three years ago prompted her mother to stop speaking to her. In conversation with KQED, she said her mother has yet to speak to her. The essay mentions Jha’s own Me Too experience and uncovers some of the violence within her family. She calls out incidences of violence in the home that go without consequences, which can lead to public violence as in the case of an 8-year-old girl named \u003ca href=\"https://www.bbc.com/news/world-asia-india-43722714\" target=\"_blank\" rel=\"noopener noreferrer\">Asifa Bano\u003c/a>. That essay garnered extensive attention and a BBC Asia interview that helped solidify her desire to continue sharing her story.\u003c/p>\n\u003cp>While Jha’s book looks at different family members, the central focus is her relationship with her son, Gibran, who is now an adult, and how she has intentionally raised him to be a feminist. “I wanted my son to be able to cry … to express heartbreak and not feel like he has to hide it,” she said.\u003c/p>\n\u003cp>Throughout the book, she weaves in her son’s perspectives, thoughts and growing feminist sensibilities, alongside interviews with researchers. “If boys are not able to talk about heartbreak, if they’re not able to cry when either they physically hurt or they see a moving piece of art … then we are just telling them to be less human,” Jha said. Educating boys, and all young people, with an eye toward emotional intelligence is good for boys themselves as well as the broader community. “These boys grow into men and they’re more emotionally available … And so they make better human beings, partners, parents and everything else,” Jha said. [aside tag=\"books, feminism\" label=\"More Related Stories\"]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project of raising feminist boys is also an act of responding to toxic masculinity. For Jha, the effort to raise a feminist son has included telling her son her own Me Too stories at an age-appropriate time. “It’s only hard until it gets easier,” she said of sharing her experiences. “It’s going to be hard to talk about these things with our kids, and especially with our boys. But if we know that everyone else is doing it …f then it becomes easier,” she said. “These things are only hard because they’re forbidden.”\u003c/p>\n\u003cp>Jha has been writing her memoir in “fits and starts” for a while now. But she wanted to combine her feminist scholarship, as well as her lived experience as a mother. Some of the chapters started as political essays in response to controversies surrounding \u003ca href=\"https://theestablishment.co/to-raise-a-feminist-son-talk-to-him-about-aziz-ansari-1ae7fd41b074/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Ansari\u003c/a> and \u003ca href=\"https://theestablishment.co/serena-williams-naomi-osaka-and-the-right-kind-of-woman/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Serena Williams, \u003c/a>writing about different intersections of masculinity, motherhood and feminism. “There’s such a hunger in society to talk about boys and to talk about how we raise boys,” she said. “So much of my identity as a mother and as a scholar and writer is tied in with these questions.” Once she knew that was the heart of the book, it took about a year and a half to write. The final product is, as Rebecca Solnit \u003ca href=\"https://www.sonorajha.com/\" target=\"_blank\" rel=\"noopener noreferrer\">describes it\u003c/a>, “a beautiful hybrid of memoir, manifesto, instruction manual, and rumination.”\u003c/p>\n\u003cp>While the family details are some of the most heartbreaking and powerful storytelling nuggets, Jha admits that memoir is hard, and she has faced some occasional sleepless nights. Even though she has changed most people’s names in the book, “they know who they are.” But she sees this aspect of memoir as important — being able to recognize your own story in someone else’s. The book will also be published in India. That’s because for her, it’s even more important for South Asian women to tell their stories, both in the diaspora and in South Asia. “We need more personal stories, and we need more memoirs — because we really need to either be whistleblowers or say, ‘Hey, enough of the silence and the shame.’ ”\u003c/p>\n\u003cp>https://www.instagram.com/p/CNP5AGcjoiv/\u003c/p>\n\u003cp>For Jha, who is now in her early 50s, trying to break the silence and shame is part of what calls her to write, and act in solidarity. “Let’s just explode some of these things about shame that keep us back,” she said.\u003c/p>\n\u003cp>Jha’s writing is the kind that is pleasant to read, and her way with words means that even the uncomfortable parts are brought together with care. The way she deftly interweaves her own story, alongside educational anecdotes and academic research reminds me of taking long road trips with my mother, in which no thought or discussion is off the table, and everything comes back to our relationships with one another, and society at large.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As Jha said, “Living a feminist life … is really about making feminist choices and knowing that those only leads to good things,” she said, “once you start to live a feminist life, things do get better for all of us, and for our families.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project of raising feminist boys is also an act of responding to toxic masculinity. For Jha, the effort to raise a feminist son has included telling her son her own Me Too stories at an age-appropriate time. “It’s only hard until it gets easier,” she said of sharing her experiences. “It’s going to be hard to talk about these things with our kids, and especially with our boys. But if we know that everyone else is doing it …f then it becomes easier,” she said. “These things are only hard because they’re forbidden.”\u003c/p>\n\u003cp>Jha has been writing her memoir in “fits and starts” for a while now. But she wanted to combine her feminist scholarship, as well as her lived experience as a mother. Some of the chapters started as political essays in response to controversies surrounding \u003ca href=\"https://theestablishment.co/to-raise-a-feminist-son-talk-to-him-about-aziz-ansari-1ae7fd41b074/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Ansari\u003c/a> and \u003ca href=\"https://theestablishment.co/serena-williams-naomi-osaka-and-the-right-kind-of-woman/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Serena Williams, \u003c/a>writing about different intersections of masculinity, motherhood and feminism. “There’s such a hunger in society to talk about boys and to talk about how we raise boys,” she said. “So much of my identity as a mother and as a scholar and writer is tied in with these questions.” Once she knew that was the heart of the book, it took about a year and a half to write. The final product is, as Rebecca Solnit \u003ca href=\"https://www.sonorajha.com/\" target=\"_blank\" rel=\"noopener noreferrer\">describes it\u003c/a>, “a beautiful hybrid of memoir, manifesto, instruction manual, and rumination.”\u003c/p>\n\u003cp>While the family details are some of the most heartbreaking and powerful storytelling nuggets, Jha admits that memoir is hard, and she has faced some occasional sleepless nights. Even though she has changed most people’s names in the book, “they know who they are.” But she sees this aspect of memoir as important — being able to recognize your own story in someone else’s. The book will also be published in India. That’s because for her, it’s even more important for South Asian women to tell their stories, both in the diaspora and in South Asia. “We need more personal stories, and we need more memoirs — because we really need to either be whistleblowers or say, ‘Hey, enough of the silence and the shame.’ ”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Earlier this month, leaders at Mills College announced that the school, which has been in the Bay Area for 169 years, will no longer be awarding degrees starting in 2023.\u003c/p>\n\u003cp>This news came as a shock to many students, faculty and alumni, who know Mills as a unique place for women and LGBTQ people who care about the arts and about social justice.\u003c/p>\n\u003cp>Today, we’ll learn about the history and legacy of Mills College and its impact on the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Guest\u003c/strong>: \u003ca href=\"http://@chloeveltman\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Veltman\u003c/a>, KQED arts and culture reporter\u003c/p>\n\u003cp>\u003cem>Episode transcript is \u003ca href=\"https://bit.ly/3cGlgaN\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Subscribe to \u003c/i>\u003ca href=\"https://www.kqed.org/news/tag/the-bay\">\u003ci>The Bay\u003c/i>\u003c/a>\u003ci> to hear more local Bay Area stories like this one. New episodes are released Monday, Wednesday and Friday at 3 a.m. Find The Bay on \u003c/i>\u003ca href=\"https://podcasts.apple.com/us/podcast/the-bay/id1350043452?mt=2\">\u003ci>Apple Podcasts\u003c/i>\u003c/a>\u003ci>, \u003c/i>\u003ca href=\"https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ\">\u003ci>Spotify\u003c/i>\u003c/a>\u003ci>, \u003c/i>\u003ca href=\"https://www.stitcher.com/podcast/kqed/the-bay\">\u003ci>Stitcher\u003c/i>\u003c/a>\u003ci>, NPR One or via \u003c/i>\u003ca href=\"https://www.amazon.com/KQED-The-Bay-Flash-Briefing/dp/B07H6YYV23\">\u003ci>Alexa\u003c/i>\u003c/a>.\u003c/p>\n\n",
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