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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">As jury deliberations continue in the trial of big budget movie producer Harvey Weinstein, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) has signaled it wants to institutionalize more sensitive approaches to simulating intimacy on set.\u003c/span>\u003c/p>\n\u003cp>Last month, the guild released \u003ca href=\"https://www.sagaftra.org/contracts-industry-resources/workplace-harassment/intimacy-coordinator-standards-protocols\" target=\"_blank\" rel=\"noopener noreferrer\">new standards and protocols\u003c/a> for the work of intimacy coordinators, a growing industry of professionals who help choreograph scenes that depict sexual behavior\u003cspan style=\"font-weight: 400\"> in movies and TV\u003c/span>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>\"The best practice around when to use us is whenever there are scenes involving any level of nudity — and then, of course, any type of simulated sex,\" said Amanda Blumenthal, an intimacy coordinator who helped the guild put together the new standards.\u003c/p>\n\u003cp>Blumenthal's website lists a number of specific scenarios during which intimacy coordinators can be useful, like \"coordinating with departments such as costumes and makeup to make sure that the actors are provided with appropriate nudity garments and prosthetics.\"\u003c/p>\n\u003cp>Intimacy coordinators, or ICs, can play a role in all kinds of intimate scenes, including “groping of breasts over clothing, heavy make out sessions, first kisses for minors and things like that,\" said Blumenthal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"A lot of people don't realize that there are many younger actors who have their first kiss on screen, and that can be a really sensitive and tender situation that should be handled with care,” she said.\u003c/p>\n\u003cp>Scenes with simulated sexual violence are also part of intimacy coordinators' work.\u003c/p>\n\u003cfigure id=\"attachment_11802512\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802512\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg\" alt=\"Michelle Hurd at the \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hurd at the \"Star Trek: Picard\" premiere in London, England, on Jan. 15, 2020. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Productions across studios, networks and genres are using IC services, including the new television series, Star Trek: Picard. This is thanks, in part, to one of its stars, veteran actress Michelle Hurd. Hurd is a member of \u003ca href=\"https://timesupfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Time’s Up\u003c/a> and also worked with SAG-AFTRA on the new protocols.\u003c/p>\n\u003cp>\"We’re talking about people. We're talking about physical contact,\" Hurd told KQED. \"These scenes need to be handled with kid gloves and choreographed.\"\u003c/p>\n\u003cp>The new standards strive to lay a foundation, Hurd added, “to enable and empower the actors to feel confident and strong and comfortable.\"\u003c/p>\n\u003ch3>Shifting the Culture on Set\u003c/h3>\n\u003cp>Intimacy coordinators have been working on sets for a while now, but SAG-AFTRA decided to formalize their role with new protocols to give ICs a more official platform and to help raise awareness within the industry.\u003c/p>\n\u003cp>“It’s hard for the whole concept to find space in the entertainment industry and to find a path to flourish and to grow without there being a standard understanding of what we’re talking about and what it means,” said David White, national executive director of SAG-AFTRA.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_IntimacyCoord_part.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">new guidelines\u003c/a> include:\u003c/p>\n\u003cul>\n\u003cli>Standards for training for intimacy coordinators, including gender and sexual diversity sensitivity training and an understanding of guild and union contracts that impact simulated sex.\u003c/li>\n\u003cli>Guidelines for resolving discrepancies in expectations between actors and productions around scenes involving intimacy.\u003c/li>\n\u003cli>Guidelines for on-set assistance, including enforcing continued consent throughout filming.\u003c/li>\n\u003c/ul>\n\u003cp>White is careful to point out that the guild is not making intimacy coordinators mandatory. He said there will be time in the future to integrate coordinators into collective bargaining agreements, but that's not the point of the guild's recent move.\u003c/p>\n\u003cp>Both White and SAG-AFTRA president Gabrielle Carteris acknowledged the potential for pushback from filmmakers for both creative and financial reasons.\u003c/p>\n\u003cp>Carteris, who is also an actor, recounted a conversation she'd had with a female director who was initially resistant to including an intimacy coordinator on a recent project — the director worried that an extra facilitator might interfere with her vision and rapport with the actors.\u003c/p>\n\u003cp>But that's not what happened, said Carteris.\u003c/p>\n\u003cp>“That director said to me, ‘I was able to share my vision, work [with the] actor, but also pay attention to everybody else in the set, knowing that the actor had somebody who [was] there one-on-one with them regarding any concerns they might have',” said Carteris.\u003c/p>\n\u003cp>Another potential obstacle to incorporating intimacy coordinators on set regularly is that they add another line item to project budgets.\u003c/p>\n\u003cp>“It’s very unusual for the [filmmaking] community to embrace the idea of a new cost to a production,” said White.\u003c/p>\n\u003cp>But Hurd said that if there is nudity or intimacy in a script, producers should build accommodations into their budgets to allow for “more care-taking to our artists... as they are put into vulnerable positions that will be... there on screen and film or digital for the rest of their lives.”\u003c/p>\n\u003cp>Hurd's own experience may inform her commitment to instill more sensitivity on sets. In 2014, she \u003ca href=\"https://www.cbsnews.com/news/actress-michelle-hurd-bill-cosby-was-very-inappropriate-with-me/\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out about\u003c/a> Bill Cosby treating her inappropriately during the filming of the television show, The Cosby Mysteries, when she was working as a stand-in.\u003c/p>\n\u003cp>Hurd said she sees intimacy coordinators as just the next evolution of conscientiousness on set.\u003c/p>\n\u003cp>\"There didn’t used to be stunt coordinators or regulations around child actors or the way animals were used in filming,\" she said, “[Intimacy coordinators] should go into the same kind of category.”\u003c/p>\n\u003cp>And there are other parallels, like actors \"requesting \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/05/590867132/whats-an-inclusion-rider-here-s-the-story-behind-frances-mcdormand-s-closing-wor\" target=\"_blank\" rel=\"noopener noreferrer\">inclusion riders\u003c/a> so that there's a person of color or LGBTQ or disabled [person] in every room,” Hurd added.\u003c/p>\n\u003cp>For now, actors who request coordinators are not guaranteed one. Blumenthal, who also founded Intimacy Professional Association, one of the bodies that accredits ICs, said there are about 25 accredited coordinators currently working in the United States.\u003c/p>\n\u003cp>White said the guild is not directly connecting ICs with filmmakers, just raising awareness about their work. Intimacy coordinators are also not currently union members, though some are advocating for SAG-AFTRA membership.\u003c/p>\n\u003cp>Still, White said, the new protocols have the power to gradually shift the culture on set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The time will come where this position becomes a standard role of any production involving intimate scenes,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"A lot of people don't realize that there are many younger actors who have their first kiss on screen, and that can be a really sensitive and tender situation that should be handled with care,” she said.\u003c/p>\n\u003cp>Scenes with simulated sexual violence are also part of intimacy coordinators' work.\u003c/p>\n\u003cfigure id=\"attachment_11802512\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802512\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg\" alt=\"Michelle Hurd at the \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hurd at the \"Star Trek: Picard\" premiere in London, England, on Jan. 15, 2020. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Productions across studios, networks and genres are using IC services, including the new television series, Star Trek: Picard. This is thanks, in part, to one of its stars, veteran actress Michelle Hurd. Hurd is a member of \u003ca href=\"https://timesupfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Time’s Up\u003c/a> and also worked with SAG-AFTRA on the new protocols.\u003c/p>\n\u003cp>\"We’re talking about people. We're talking about physical contact,\" Hurd told KQED. \"These scenes need to be handled with kid gloves and choreographed.\"\u003c/p>\n\u003cp>The new standards strive to lay a foundation, Hurd added, “to enable and empower the actors to feel confident and strong and comfortable.\"\u003c/p>\n\u003ch3>Shifting the Culture on Set\u003c/h3>\n\u003cp>Intimacy coordinators have been working on sets for a while now, but SAG-AFTRA decided to formalize their role with new protocols to give ICs a more official platform and to help raise awareness within the industry.\u003c/p>\n\u003cp>“It’s hard for the whole concept to find space in the entertainment industry and to find a path to flourish and to grow without there being a standard understanding of what we’re talking about and what it means,” said David White, national executive director of SAG-AFTRA.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_IntimacyCoord_part.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">new guidelines\u003c/a> include:\u003c/p>\n\u003cul>\n\u003cli>Standards for training for intimacy coordinators, including gender and sexual diversity sensitivity training and an understanding of guild and union contracts that impact simulated sex.\u003c/li>\n\u003cli>Guidelines for resolving discrepancies in expectations between actors and productions around scenes involving intimacy.\u003c/li>\n\u003cli>Guidelines for on-set assistance, including enforcing continued consent throughout filming.\u003c/li>\n\u003c/ul>\n\u003cp>White is careful to point out that the guild is not making intimacy coordinators mandatory. He said there will be time in the future to integrate coordinators into collective bargaining agreements, but that's not the point of the guild's recent move.\u003c/p>\n\u003cp>Both White and SAG-AFTRA president Gabrielle Carteris acknowledged the potential for pushback from filmmakers for both creative and financial reasons.\u003c/p>\n\u003cp>Carteris, who is also an actor, recounted a conversation she'd had with a female director who was initially resistant to including an intimacy coordinator on a recent project — the director worried that an extra facilitator might interfere with her vision and rapport with the actors.\u003c/p>\n\u003cp>But that's not what happened, said Carteris.\u003c/p>\n\u003cp>“That director said to me, ‘I was able to share my vision, work [with the] actor, but also pay attention to everybody else in the set, knowing that the actor had somebody who [was] there one-on-one with them regarding any concerns they might have',” said Carteris.\u003c/p>\n\u003cp>Another potential obstacle to incorporating intimacy coordinators on set regularly is that they add another line item to project budgets.\u003c/p>\n\u003cp>“It’s very unusual for the [filmmaking] community to embrace the idea of a new cost to a production,” said White.\u003c/p>\n\u003cp>But Hurd said that if there is nudity or intimacy in a script, producers should build accommodations into their budgets to allow for “more care-taking to our artists... as they are put into vulnerable positions that will be... there on screen and film or digital for the rest of their lives.”\u003c/p>\n\u003cp>Hurd's own experience may inform her commitment to instill more sensitivity on sets. In 2014, she \u003ca href=\"https://www.cbsnews.com/news/actress-michelle-hurd-bill-cosby-was-very-inappropriate-with-me/\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out about\u003c/a> Bill Cosby treating her inappropriately during the filming of the television show, The Cosby Mysteries, when she was working as a stand-in.\u003c/p>\n\u003cp>Hurd said she sees intimacy coordinators as just the next evolution of conscientiousness on set.\u003c/p>\n\u003cp>\"There didn’t used to be stunt coordinators or regulations around child actors or the way animals were used in filming,\" she said, “[Intimacy coordinators] should go into the same kind of category.”\u003c/p>\n\u003cp>And there are other parallels, like actors \"requesting \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/05/590867132/whats-an-inclusion-rider-here-s-the-story-behind-frances-mcdormand-s-closing-wor\" target=\"_blank\" rel=\"noopener noreferrer\">inclusion riders\u003c/a> so that there's a person of color or LGBTQ or disabled [person] in every room,” Hurd added.\u003c/p>\n\u003cp>For now, actors who request coordinators are not guaranteed one. Blumenthal, who also founded Intimacy Professional Association, one of the bodies that accredits ICs, said there are about 25 accredited coordinators currently working in the United States.\u003c/p>\n\u003cp>White said the guild is not directly connecting ICs with filmmakers, just raising awareness about their work. Intimacy coordinators are also not currently union members, though some are advocating for SAG-AFTRA membership.\u003c/p>\n\u003cp>Still, White said, the new protocols have the power to gradually shift the culture on set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The time will come where this position becomes a standard role of any production involving intimate scenes,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mountain bikes in a museum? Yes, and not just in Fairfax, home of the \u003ca href=\"https://mmbhof.org\" target=\"_blank\" rel=\"noopener noreferrer\">Marin Museum of Bicycling\u003c/a>. The \u003ca href=\"https://santacruzmah.org\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art and History (MAH)\u003c/a> has collaborated with its neighbor to the north to recount the history and burnish the legend.\u003c/p>\n\u003cp>\"Any bike can be a mountain bike if you ride it in the mountains,\" said Whitney Ford-Terry, the exhibition's catalyst for \"\u003ca href=\"https://santacruzmah.org/exhibitions/trailblazers\" target=\"_blank\" rel=\"noopener noreferrer\">Trailblazers: The Creative Story Behind Mountain Biking in Santa Cruz\u003c/a>.\" The exhibit explores how Santa Cruz became a major mountain biking destination and home to several big biking brands.\u003c/p>\n\u003cp>\"People kind of cross-pollinated ideas, and a lot of folks from Santa Cruz learned from people who had picked up things there or who had come down to Santa Cruz to really test out what they were making on the very unique trail system we have here,\" Ford-Terry said.\u003c/p>\n\u003cp>Off-road riding has been with us as long as bicycles have, but in the late 1960s, a clutch of guys in Marin County modified old Schwinn bicycles they called “clunkers” to race down \u003ca href=\"https://www.parks.ca.gov/?page_id=471\" target=\"_blank\" rel=\"noopener noreferrer\">Mount Tamalpais\u003c/a>. It didn’t take long before they started modifying the bikes with stiffer frames, wider tires, multiple gears and so on.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8CWMCNzmKNM]In \u003ca href=\"https://www.kqed.org/arts/13810966/former-foster-youth-change-narrative\" target=\"_blank\" rel=\"noopener noreferrer\">classic MAH fashion\u003c/a>, the exhibition is not so much a collection of historical objects as it is a collaboration with a host of local people and groups like \u003ca href=\"http://mbosc.org\" target=\"_blank\" rel=\"noopener noreferrer\">Mountain Bikers of Santa Cruz\u003c/a>. So, for example, \"Trailblazers\" encourages visitors to think about getting involved in the community, in this case, by focusing on the importance of trail stewardship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition also encourages visitors to think in a hands-on fashion about what makes for a good mountain bike. It's a sport, after all, born of tinkering to maximize delight traveling through the great California outdoors. \u003c/p>\n\u003cp>\"What really makes this community special is our trails: how we use them, how we take care of them, how we built them,\" Ford-Terry said.\u003c/p>\n\u003cp>From the Flow Trail in Soquel Demonstration State Forest to the coastline of Wilder Ranch State Park to the campus byways of UC Santa Cruz, \"It is a wildly popular sport in our county and community,\" Ford-Terry said. \"So we looked to the experts to help us get a better idea of what should be in the show, but also, how to contextualize this history.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On a sunny day, it's hard to imagine why you wouldn't be out on one of those trails, but at some point, you're going to be downtown for an ice cream or a sandwich, and that's when this gallery at MAH beckons you inside to reflect and appreciate the \"trailblazers\" who came before you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mountain bikes in a museum? Yes, and not just in Fairfax, home of the \u003ca href=\"https://mmbhof.org\" target=\"_blank\" rel=\"noopener noreferrer\">Marin Museum of Bicycling\u003c/a>. The \u003ca href=\"https://santacruzmah.org\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art and History (MAH)\u003c/a> has collaborated with its neighbor to the north to recount the history and burnish the legend.\u003c/p>\n\u003cp>\"Any bike can be a mountain bike if you ride it in the mountains,\" said Whitney Ford-Terry, the exhibition's catalyst for \"\u003ca href=\"https://santacruzmah.org/exhibitions/trailblazers\" target=\"_blank\" rel=\"noopener noreferrer\">Trailblazers: The Creative Story Behind Mountain Biking in Santa Cruz\u003c/a>.\" The exhibit explores how Santa Cruz became a major mountain biking destination and home to several big biking brands.\u003c/p>\n\u003cp>\"People kind of cross-pollinated ideas, and a lot of folks from Santa Cruz learned from people who had picked up things there or who had come down to Santa Cruz to really test out what they were making on the very unique trail system we have here,\" Ford-Terry said.\u003c/p>\n\u003cp>Off-road riding has been with us as long as bicycles have, but in the late 1960s, a clutch of guys in Marin County modified old Schwinn bicycles they called “clunkers” to race down \u003ca href=\"https://www.parks.ca.gov/?page_id=471\" target=\"_blank\" rel=\"noopener noreferrer\">Mount Tamalpais\u003c/a>. It didn’t take long before they started modifying the bikes with stiffer frames, wider tires, multiple gears and so on.\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/8CWMCNzmKNM'\n title='//www.youtube.com/embed/8CWMCNzmKNM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13810966/former-foster-youth-change-narrative\" target=\"_blank\" rel=\"noopener noreferrer\">classic MAH fashion\u003c/a>, the exhibition is not so much a collection of historical objects as it is a collaboration with a host of local people and groups like \u003ca href=\"http://mbosc.org\" target=\"_blank\" rel=\"noopener noreferrer\">Mountain Bikers of Santa Cruz\u003c/a>. So, for example, \"Trailblazers\" encourages visitors to think about getting involved in the community, in this case, by focusing on the importance of trail stewardship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibition also encourages visitors to think in a hands-on fashion about what makes for a good mountain bike. It's a sport, after all, born of tinkering to maximize delight traveling through the great California outdoors. \u003c/p>\n\u003cp>\"What really makes this community special is our trails: how we use them, how we take care of them, how we built them,\" Ford-Terry said.\u003c/p>\n\u003cp>From the Flow Trail in Soquel Demonstration State Forest to the coastline of Wilder Ranch State Park to the campus byways of UC Santa Cruz, \"It is a wildly popular sport in our county and community,\" Ford-Terry said. \"So we looked to the experts to help us get a better idea of what should be in the show, but also, how to contextualize this history.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On a sunny day, it's hard to imagine why you wouldn't be out on one of those trails, but at some point, you're going to be downtown for an ice cream or a sandwich, and that's when this gallery at MAH beckons you inside to reflect and appreciate the \"trailblazers\" who came before you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Democratic Presidential Race \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">This week, Vermont Sen. Bernie Sanders was declared the winner in the New Hampshire primary, narrowly edging out former South Bend Mayor Pete Buttigieg. Sen. Amy Klobuchar of Minnesota finished third, riding a resurgent wave of support after a strong debate performance in New Hampshire last week. Former Vice President Joe Biden’s support has slipped and progressive Massachusetts Sen. Elizabeth Warren’s campaign is also in trouble after a poor showing in New Hampshire and Iowa. Candidates are now turning their attention to South Carolina and Nevada, states with large numbers of black and Latino voters, unlike Iowa and New Hampshire. Meanwhile, billionaire and former New York Mayor Michael Bloomberg decided to skip the early nominating states and instead pour hundreds of millions of dollars on ad buys in California and other states that are key to winning the nomination. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Paul Mitchell, vice-president, Political Data, Inc.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Megan Messerly, lead 2020 election reporter, The Nevada Independent\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>‘Uncanny Valley’ \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">In recent years, tech giants like Facebook and Google have reckoned with massive data breaches and anger over misinformation and disturbing content on their sites. On top of that, there’s the culture of Silicon Valley, a male-dominated, largely white workplace that often prizes the pursuit of profits over principles of equity and diversity. Now, a new book offers an insider’s account of life at a startup and the seductive promises of this “uncanny valley.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Guest:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Anna Wiener, author, “Uncanny Valley,” and The New Yorker contributing writer\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>alt-Valentine’s Day \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">Glasses glistening with airy bubbles of champagne. Decadent desserts decked in chocolate. \u003c/span>\u003cspan style=\"font-weight: 400\">Restaurant reservations booked weeks in advance. This Valentine’s Day, why not spice things up with a departure from tradition, like making savory dumplings with fillings that appeal to the pickiest of palates? Or making pasta with your Valentine from scratch with just flour, water and a dash of culinary adventure? We hear from our guests about alternative ways to celebrate the special day and also personal stories that reveal the single ingredient you need: quality time with that special someone. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Guests:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Ellen Fort, food editor, Sunset Magazine\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Alan Montecillo, editor, KQED’s The Bay\u003c/span>\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Democratic Presidential Race \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">This week, Vermont Sen. Bernie Sanders was declared the winner in the New Hampshire primary, narrowly edging out former South Bend Mayor Pete Buttigieg. Sen. Amy Klobuchar of Minnesota finished third, riding a resurgent wave of support after a strong debate performance in New Hampshire last week. Former Vice President Joe Biden’s support has slipped and progressive Massachusetts Sen. Elizabeth Warren’s campaign is also in trouble after a poor showing in New Hampshire and Iowa. Candidates are now turning their attention to South Carolina and Nevada, states with large numbers of black and Latino voters, unlike Iowa and New Hampshire. Meanwhile, billionaire and former New York Mayor Michael Bloomberg decided to skip the early nominating states and instead pour hundreds of millions of dollars on ad buys in California and other states that are key to winning the nomination. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Paul Mitchell, vice-president, Political Data, Inc.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Megan Messerly, lead 2020 election reporter, The Nevada Independent\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>‘Uncanny Valley’ \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">In recent years, tech giants like Facebook and Google have reckoned with massive data breaches and anger over misinformation and disturbing content on their sites. On top of that, there’s the culture of Silicon Valley, a male-dominated, largely white workplace that often prizes the pursuit of profits over principles of equity and diversity. Now, a new book offers an insider’s account of life at a startup and the seductive promises of this “uncanny valley.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Guest:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Anna Wiener, author, “Uncanny Valley,” and The New Yorker contributing writer\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>alt-Valentine’s Day \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">Glasses glistening with airy bubbles of champagne. Decadent desserts decked in chocolate. \u003c/span>\u003cspan style=\"font-weight: 400\">Restaurant reservations booked weeks in advance. This Valentine’s Day, why not spice things up with a departure from tradition, like making savory dumplings with fillings that appeal to the pickiest of palates? Or making pasta with your Valentine from scratch with just flour, water and a dash of culinary adventure? We hear from our guests about alternative ways to celebrate the special day and also personal stories that reveal the single ingredient you need: quality time with that special someone. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Federal Equal Rights Amendment Moves Step Closer to Passage After House Vote",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>Updated 1 p.m. Thursday\u003c/em>\u003c/p>\n\u003cp>The U.S. House of Representatives voted on Thursday to approve a resolution paving the way for Congress to take up the Equal Rights Amendment, a constitutional amendment proposed nearly a century ago that would prohibit discrimination on the basis of one's sex.\u003c/p>\n\u003cp>Known as the ERA, the amendment was first proposed in 1923 by suffragist \u003ca href=\"https://www.equalrightsamendment.org/history\" target=\"_blank\" rel=\"noopener noreferrer\">Alice Paul\u003c/a>, and every session of Congress thereafter until it was approved by the House of Representatives in 1971 and the Senate the following year. The ERA needed three-quarters of state legislatures, or 38 states, to back it. But by the 1982 deadline, only 35 had. That changed in recent years, with state lawmakers in Nevada and Illinois approving the ERA; and \u003ca href=\"https://www.npr.org/2020/01/15/796754345/virginia-ratifies-the-equal-rights-amendment-decades-after-deadline\" target=\"_blank\" rel=\"noopener noreferrer\">Virginia\u003c/a>, the 38th state, following suit in January.\u003c/p>\n\u003cp>The only thing standing in the way of the amendment, lawmakers said, was that 1982 deadline. That's where the resolution — \u003ca href=\"https://www.congress.gov/bill/116th-congress/house-joint-resolution/79\" target=\"_blank\" rel=\"noopener noreferrer\">H.J.Res.79\u003c/a>, sponsored by Democratic Bay Area Congresswoman Jackie Speier — came in to remove it. Democrats and Republicans have introduced a companion \u003ca href=\"https://www.congress.gov/bill/116th-congress/senate-joint-resolution/6\" rel=\"noopener noreferrer\" target=\"_blank\">joint resolution\u003c/a> in the U.S. Senate that lifts the deadline, too.\u003c/p>\n\u003cp>\"Our message here today is quite simple: We want in. We want in the (U.S.) Constitution,\" Speier said Wednesday at a press conference ahead of the vote. \"... Because women are not recognized in our founding document, the Constitution, as fully equal to men under the law. We are not equal.\"\u003c/p>\n\u003cp>\"It is a vote for America that we have fought so hard to become,\" she added. \"Our vote is also a strong message that women in America are done. We are done being harassed, assaulted and violated with impunity. We are done being paid less for the same work. We are done being discriminated against for our pregnancies.\"\u003c/p>\n\u003cfigure id=\"attachment_11744027\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11744027\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-800x646.jpg\" alt=\"A group of suffragettes in June 1920. Alice Paul, who first called for the constitutional amendment in 1923, is third from left on the bottom row.\" width=\"800\" height=\"646\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-800x646.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-160x129.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-1020x824.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of suffragists in June 1920. Alice Paul, who first called for the constitutional amendment in 1923, is third from left on the bottom row. \u003ccite>(National Photo Company Collection/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other lawmakers, including House Speaker Nancy Pelosi of San Francisco, spoke out in support of the resolution. Without the ERA being enshrined in the Constitution, women still face inequality under the law from the wage gap, pregnancy discrimination and sexual harassment, she said, resulting in them \"being underrepresented at the table.\"\u003c/p>\n\u003cp>\"This year that marks the centennial of women having the right to vote, it is a shameful reality that the Equal Rights Amendment still has not been enshrined in the Constitution,\" she said Thursday, referring to the \u003ca href=\"https://constitutioncenter.org/interactive-constitution/amendment/amendment-xix\" rel=\"noopener noreferrer\" target=\"_blank\">19th Amendment of 1920\u003c/a>. \"As a result, millions of American women still face inequality under the law and injustice in their careers and lives.\"\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='U.S. Rep. Jackie Speier']'It is a vote for America that we have fought so hard to become.'[/pullquote]Supporters say the Constitution doesn't provide protections against sex discrimination and that's why the ERA is needed. Opponents argue the amendment is a false pretext for abortion and that women are already protected against sex discrimination by other laws and the 14th Amendment. They point to gains made by women, such as being able to serve in the military and in combat, and say the need for such an amendment today is moot.\u003c/p>\n\u003cp>Concern about women’s rights since the election of President Trump and the rise of the #MeToo movement has re-energized efforts to ratify the amendment, which stalled when conservative women — led by Phyllis Schlafly, who began a group called Stop ERA — began to organize against it.\u003c/p>\n\u003cp>House Majority Leader Steny Hoyer, a Democrat from Maryland, said he recalled when his state ratified the ERA — in 1972.\u003c/p>\n\u003cp>[aside postID='news_11743996' label='The Equal Rights Amendment']\"I could not understand why women were not equal under our Constitution,\" he said Wednesday, asking why the nation's founders \"didn't say we hold these truths to be self-evident, that all humankind are created equal.\"\u003c/p>\n\u003cp>\"It's never too late to do the right thing,\" he said, noting, \"It is far past time to act.\"\u003c/p>\n\u003cp>One other potential hiccup for the ERA: Five states that approved it later rescinded their OK, and opponents and supporters disagree on whether that is legal.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated 1 p.m. Thursday\u003c/em>\u003c/p>\n\u003cp>The U.S. House of Representatives voted on Thursday to approve a resolution paving the way for Congress to take up the Equal Rights Amendment, a constitutional amendment proposed nearly a century ago that would prohibit discrimination on the basis of one's sex.\u003c/p>\n\u003cp>Known as the ERA, the amendment was first proposed in 1923 by suffragist \u003ca href=\"https://www.equalrightsamendment.org/history\" target=\"_blank\" rel=\"noopener noreferrer\">Alice Paul\u003c/a>, and every session of Congress thereafter until it was approved by the House of Representatives in 1971 and the Senate the following year. The ERA needed three-quarters of state legislatures, or 38 states, to back it. But by the 1982 deadline, only 35 had. That changed in recent years, with state lawmakers in Nevada and Illinois approving the ERA; and \u003ca href=\"https://www.npr.org/2020/01/15/796754345/virginia-ratifies-the-equal-rights-amendment-decades-after-deadline\" target=\"_blank\" rel=\"noopener noreferrer\">Virginia\u003c/a>, the 38th state, following suit in January.\u003c/p>\n\u003cp>The only thing standing in the way of the amendment, lawmakers said, was that 1982 deadline. That's where the resolution — \u003ca href=\"https://www.congress.gov/bill/116th-congress/house-joint-resolution/79\" target=\"_blank\" rel=\"noopener noreferrer\">H.J.Res.79\u003c/a>, sponsored by Democratic Bay Area Congresswoman Jackie Speier — came in to remove it. Democrats and Republicans have introduced a companion \u003ca href=\"https://www.congress.gov/bill/116th-congress/senate-joint-resolution/6\" rel=\"noopener noreferrer\" target=\"_blank\">joint resolution\u003c/a> in the U.S. Senate that lifts the deadline, too.\u003c/p>\n\u003cp>\"Our message here today is quite simple: We want in. We want in the (U.S.) Constitution,\" Speier said Wednesday at a press conference ahead of the vote. \"... Because women are not recognized in our founding document, the Constitution, as fully equal to men under the law. We are not equal.\"\u003c/p>\n\u003cp>\"It is a vote for America that we have fought so hard to become,\" she added. \"Our vote is also a strong message that women in America are done. We are done being harassed, assaulted and violated with impunity. We are done being paid less for the same work. We are done being discriminated against for our pregnancies.\"\u003c/p>\n\u003cfigure id=\"attachment_11744027\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11744027\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-800x646.jpg\" alt=\"A group of suffragettes in June 1920. Alice Paul, who first called for the constitutional amendment in 1923, is third from left on the bottom row.\" width=\"800\" height=\"646\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-800x646.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-160x129.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-1020x824.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of suffragists in June 1920. Alice Paul, who first called for the constitutional amendment in 1923, is third from left on the bottom row. \u003ccite>(National Photo Company Collection/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other lawmakers, including House Speaker Nancy Pelosi of San Francisco, spoke out in support of the resolution. Without the ERA being enshrined in the Constitution, women still face inequality under the law from the wage gap, pregnancy discrimination and sexual harassment, she said, resulting in them \"being underrepresented at the table.\"\u003c/p>\n\u003cp>\"This year that marks the centennial of women having the right to vote, it is a shameful reality that the Equal Rights Amendment still has not been enshrined in the Constitution,\" she said Thursday, referring to the \u003ca href=\"https://constitutioncenter.org/interactive-constitution/amendment/amendment-xix\" rel=\"noopener noreferrer\" target=\"_blank\">19th Amendment of 1920\u003c/a>. \"As a result, millions of American women still face inequality under the law and injustice in their careers and lives.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Supporters say the Constitution doesn't provide protections against sex discrimination and that's why the ERA is needed. Opponents argue the amendment is a false pretext for abortion and that women are already protected against sex discrimination by other laws and the 14th Amendment. They point to gains made by women, such as being able to serve in the military and in combat, and say the need for such an amendment today is moot.\u003c/p>\n\u003cp>Concern about women’s rights since the election of President Trump and the rise of the #MeToo movement has re-energized efforts to ratify the amendment, which stalled when conservative women — led by Phyllis Schlafly, who began a group called Stop ERA — began to organize against it.\u003c/p>\n\u003cp>House Majority Leader Steny Hoyer, a Democrat from Maryland, said he recalled when his state ratified the ERA — in 1972.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\"I could not understand why women were not equal under our Constitution,\" he said Wednesday, asking why the nation's founders \"didn't say we hold these truths to be self-evident, that all humankind are created equal.\"\u003c/p>\n\u003cp>\"It's never too late to do the right thing,\" he said, noting, \"It is far past time to act.\"\u003c/p>\n\u003cp>One other potential hiccup for the ERA: Five states that approved it later rescinded their OK, and opponents and supporters disagree on whether that is legal.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Long Before Politics at the Oscars Was a Thing, There Was Sacheen Littlefeather",
"title": "Long Before Politics at the Oscars Was a Thing, There Was Sacheen Littlefeather",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The night of the 45th Academy Awards, the tuxedo’d and tiara’d denizens of Hollywood expected Marlon Brando to show up on stage and accept his best actor accolade for “The Godfather.”\u003c/p>\n\u003cp>Instead, they got Sacheen Littlefeather.\u003c/p>\n\u003cp>From John Legend's stand against incarceration to Patricia Arquette's call for equal pay for women — political statements at the Oscars have become so commonplace in recent times, it’s hard to keep track of them all.\u003c/p>\n\u003cp>\u003ciframe title=\"9 Times the Oscars Got Political\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/OrK3jr0lewA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>But Littlefeather's actions as the first indigenous person to use the Oscars as a platform to protest the mistreatment of her people in 1973 continue to stand out to this day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hello, my name is Sacheen Littlefeather,\" said the 20-something California actress and activist as she stood under the lights. She was dressed in tribal dress and waving several pages of paper covered with typed text Brando had given her to read out that evening. \"He has asked me to tell you in a very long speech, which I cannot share with you presently because of time, but I will be glad to share with the press afterwards, that he very regretfully cannot accept this very generous award.\"\u003c/p>\n\u003cp>Littlefeather’s face lit up TV sets in more than \u003ca href=\"https://tvbythenumbers.zap2it.com/reference/academy-awards-show-ratings/\" target=\"_blank\" rel=\"noopener noreferrer\">24 million homes\u003c/a>, as she explained Brando’s decision to boycott the high-profile event and send her in his place.\u003c/p>\n\u003cp>\"And the reasons for this being the treatment of American Indians today by the film industry,\" she went on against a chorus of boos and cheers. \"And on television, in movie reruns and also with recent happenings at Wounded Knee.\"\u003c/p>\n\u003cp>\u003ciframe title=\"Marlon Brando's Oscar® win for "The Godfather"\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/2QUacU0I4yU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Littlefeather, who's half Apache and half white, is now in her seventies. She lives in Novato, a town about an hour north of San Francisco. Her speech about the representation of indigenous people on screen — and the U.S. government's recent suppression of Native American protesters at Wounded Knee on the Pine Ridge Reservation in South Dakota — may have been short, but she said it caused an immediate uproar.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Sacheen Littlefeather\"]'A lot of people were making money off of that racism of the Hollywood Indian. Of course, they’re going to boo. They don't want their evening interrupted.'[/pullquote]\u003c/p>\n\u003cp>\"All hell broke loose,\" she said, recalling the memory of being escorted off stage by a team of security guards when her 60 seconds were up.\u003c/p>\n\u003cp>Littlefeather said she narrowly avoided getting into a scrap with John Wayne in the wings. He was the biggest name in old-school westerns, which were riddled with negative stereotypes of Native Americans.\u003c/p>\n\u003cp>\"A lot of people were making money off of that racism of the Hollywood Indian,\" Littlefeather said. \"Of course, they’re going to boo. They don't want their evening interrupted.\"\u003c/p>\n\u003cp>\u003ciframe title=\"The Searchers (1956) - Cowboys vs. Indians Scene (4/10) | Movieclips\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/dc8glsGbIus?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\"People were furious at Marlon Brando, that he had blindsided and ambushed them,\" said Bay Area-based film critic Michael Fox, who remembers watching the 1973 Oscars as a teenager and seeing the incident recaptured in the papers the next day. \"I'm sure the industry took it as a betrayal.\"\u003c/p>\n\u003cp>Littlefeather was living in San Francisco as a radio personality and Native American rights activist — she'd participated in the Native occupation of Alcatraz in the late 1960s — when Brando started speaking publicly about his support of Native Americans.\u003c/p>\n\u003cp>She said she was skeptical at first. So she got her neighbor, director Francis Ford Coppola, to deliver the movie star a letter she wrote that quizzed him about his intentions.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Sacheen Littlefeather\"]'I wanted to break barriers. I wanted to see young actresses acting not specifically a cowboy and Indian role, but a role being anything on the screen that you want to be.'[/pullquote]\u003c/p>\n\u003cp>\"It took him a year to get back to me,\" she said. \"But eventually he did.\"\u003c/p>\n\u003cp>Littlefeather said she could see Brando was sincere from his response. They began a friendship, which led to his request for her to stand in for him at the Oscars.\u003c/p>\n\u003cp>She said her stand at the 1973 Oscars wasn’t in vain.\u003c/p>\n\u003cp>\"The press showed up in South Dakota,\" she said. \"And they blasted open the story of Wounded Knee.\"\u003c/p>\n\u003cp>\u003ciframe title=\"Feb 28, 1973 Surveying Damage at Wounded Knee Video ABC News\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/Y1l1ACpRYrg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>But it ruined her career in the entertainment industry.\u003c/p>\n\u003cp>\"I was boycotted from that time forward,\" said the actress, who appeared in a few films — like the 1973 release \"Counselor at Crime\" — before the work dried up. \"I was never allowed on any of the major television shows, major productions of films.\"\u003c/p>\n\u003cp>\u003ciframe title='Sexy Sacheen Littlefeather on \"Counselor at Crime\" (Il Consigliori, 1973)' width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/8Kv1oc7IxY8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>There still aren’t many lead roles for Native Americans today. But things are slowly changing.\u003c/p>\n\u003cp>Apache actress Sivan Alyra Rose recently became the first indigenous North American to star in a Netflix series,\"\u003ca href=\"https://www.netflix.com/title/80210361\" target=\"_blank\" rel=\"noopener noreferrer\">Chambers,\u003c/a>\" last year. Also in 2019, Cherokee actor \u003ca href=\"https://www.wbur.org/hereandnow/2019/07/02/wes-studi-oscar-native-american\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Studi won an honorary Academy Award\u003c/a>, becoming the first Native American to win an Oscar since songwriter Buffy Sainte-Marie received a nod for her theme song \"Up Where We Belong\" from the movie \"An Officer and a Gentleman\" in 1983.\u003c/p>\n\u003cp>\u003ciframe title='\"Up Where We Belong\" Wins Original Song: 1983 Oscars' width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/YMRP0HVD63g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>At a \u003ca href=\"https://www.commonwealthclub.org/events/archive/podcast/sacheen-littlefeather-and-sivan-alyra-rose-native-americans-film-and-media\" target=\"_blank\" rel=\"noopener noreferrer\">recent Commonwealth Club talk\u003c/a> in San Francisco, Oglala Lakota film producer Sarah Eagle Heart credited Littlefeather with paving the way for people like her.\u003c/p>\n\u003cp>\"Those of us that had to come afterwards in the industry, I know are grateful for you standing up and fighting for us to have a voice and for our issues to be heard as well,\" Eagle Heart said.\u003c/p>\n\u003cp>Littlefeather was a special guest at that event.\u003c/p>\n\u003cp>\"This is one of the reasons why I refused that Academy Award,\" Littlefeather responded. \"I wanted to break barriers. I wanted to see young actresses acting not specifically a cowboy and Indian role but a role being anything on the screen that you want to be.\"\u003c/p>\n\u003cp>\u003ciframe title=\"SACHEEN, Breaking the silence OFFICIAL TRAILER\" src=\"https://player.vimeo.com/video/316908967?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Littlefeather shares information about her life, activism and pioneering stand at the 45th Academy Awards in the recently released documentary, \"Sacheen, Breaking the Silence.\"\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Apache actress and activist's actions as the first indigenous person to use the Oscars as a platform to protest the mistreatment of her people continue to stand out to this day. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The night of the 45th Academy Awards, the tuxedo’d and tiara’d denizens of Hollywood expected Marlon Brando to show up on stage and accept his best actor accolade for “The Godfather.”\u003c/p>\n\u003cp>Instead, they got Sacheen Littlefeather.\u003c/p>\n\u003cp>From John Legend's stand against incarceration to Patricia Arquette's call for equal pay for women — political statements at the Oscars have become so commonplace in recent times, it’s hard to keep track of them all.\u003c/p>\n\u003cp>\u003ciframe title=\"9 Times the Oscars Got Political\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/OrK3jr0lewA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>But Littlefeather's actions as the first indigenous person to use the Oscars as a platform to protest the mistreatment of her people in 1973 continue to stand out to this day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hello, my name is Sacheen Littlefeather,\" said the 20-something California actress and activist as she stood under the lights. She was dressed in tribal dress and waving several pages of paper covered with typed text Brando had given her to read out that evening. \"He has asked me to tell you in a very long speech, which I cannot share with you presently because of time, but I will be glad to share with the press afterwards, that he very regretfully cannot accept this very generous award.\"\u003c/p>\n\u003cp>Littlefeather’s face lit up TV sets in more than \u003ca href=\"https://tvbythenumbers.zap2it.com/reference/academy-awards-show-ratings/\" target=\"_blank\" rel=\"noopener noreferrer\">24 million homes\u003c/a>, as she explained Brando’s decision to boycott the high-profile event and send her in his place.\u003c/p>\n\u003cp>\"And the reasons for this being the treatment of American Indians today by the film industry,\" she went on against a chorus of boos and cheers. \"And on television, in movie reruns and also with recent happenings at Wounded Knee.\"\u003c/p>\n\u003cp>\u003ciframe title=\"Marlon Brando's Oscar® win for "The Godfather"\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/2QUacU0I4yU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Littlefeather, who's half Apache and half white, is now in her seventies. She lives in Novato, a town about an hour north of San Francisco. Her speech about the representation of indigenous people on screen — and the U.S. government's recent suppression of Native American protesters at Wounded Knee on the Pine Ridge Reservation in South Dakota — may have been short, but she said it caused an immediate uproar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "'A lot of people were making money off of that racism of the Hollywood Indian. Of course, they’re going to boo. They don't want their evening interrupted.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"All hell broke loose,\" she said, recalling the memory of being escorted off stage by a team of security guards when her 60 seconds were up.\u003c/p>\n\u003cp>Littlefeather said she narrowly avoided getting into a scrap with John Wayne in the wings. He was the biggest name in old-school westerns, which were riddled with negative stereotypes of Native Americans.\u003c/p>\n\u003cp>\"A lot of people were making money off of that racism of the Hollywood Indian,\" Littlefeather said. \"Of course, they’re going to boo. They don't want their evening interrupted.\"\u003c/p>\n\u003cp>\u003ciframe title=\"The Searchers (1956) - Cowboys vs. Indians Scene (4/10) | Movieclips\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/dc8glsGbIus?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\"People were furious at Marlon Brando, that he had blindsided and ambushed them,\" said Bay Area-based film critic Michael Fox, who remembers watching the 1973 Oscars as a teenager and seeing the incident recaptured in the papers the next day. \"I'm sure the industry took it as a betrayal.\"\u003c/p>\n\u003cp>Littlefeather was living in San Francisco as a radio personality and Native American rights activist — she'd participated in the Native occupation of Alcatraz in the late 1960s — when Brando started speaking publicly about his support of Native Americans.\u003c/p>\n\u003cp>She said she was skeptical at first. So she got her neighbor, director Francis Ford Coppola, to deliver the movie star a letter she wrote that quizzed him about his intentions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"It took him a year to get back to me,\" she said. \"But eventually he did.\"\u003c/p>\n\u003cp>Littlefeather said she could see Brando was sincere from his response. They began a friendship, which led to his request for her to stand in for him at the Oscars.\u003c/p>\n\u003cp>She said her stand at the 1973 Oscars wasn’t in vain.\u003c/p>\n\u003cp>\"The press showed up in South Dakota,\" she said. \"And they blasted open the story of Wounded Knee.\"\u003c/p>\n\u003cp>\u003ciframe title=\"Feb 28, 1973 Surveying Damage at Wounded Knee Video ABC News\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/Y1l1ACpRYrg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>But it ruined her career in the entertainment industry.\u003c/p>\n\u003cp>\"I was boycotted from that time forward,\" said the actress, who appeared in a few films — like the 1973 release \"Counselor at Crime\" — before the work dried up. \"I was never allowed on any of the major television shows, major productions of films.\"\u003c/p>\n\u003cp>\u003ciframe title='Sexy Sacheen Littlefeather on \"Counselor at Crime\" (Il Consigliori, 1973)' width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/8Kv1oc7IxY8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>There still aren’t many lead roles for Native Americans today. But things are slowly changing.\u003c/p>\n\u003cp>Apache actress Sivan Alyra Rose recently became the first indigenous North American to star in a Netflix series,\"\u003ca href=\"https://www.netflix.com/title/80210361\" target=\"_blank\" rel=\"noopener noreferrer\">Chambers,\u003c/a>\" last year. Also in 2019, Cherokee actor \u003ca href=\"https://www.wbur.org/hereandnow/2019/07/02/wes-studi-oscar-native-american\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Studi won an honorary Academy Award\u003c/a>, becoming the first Native American to win an Oscar since songwriter Buffy Sainte-Marie received a nod for her theme song \"Up Where We Belong\" from the movie \"An Officer and a Gentleman\" in 1983.\u003c/p>\n\u003cp>\u003ciframe title='\"Up Where We Belong\" Wins Original Song: 1983 Oscars' width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/YMRP0HVD63g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>At a \u003ca href=\"https://www.commonwealthclub.org/events/archive/podcast/sacheen-littlefeather-and-sivan-alyra-rose-native-americans-film-and-media\" target=\"_blank\" rel=\"noopener noreferrer\">recent Commonwealth Club talk\u003c/a> in San Francisco, Oglala Lakota film producer Sarah Eagle Heart credited Littlefeather with paving the way for people like her.\u003c/p>\n\u003cp>\"Those of us that had to come afterwards in the industry, I know are grateful for you standing up and fighting for us to have a voice and for our issues to be heard as well,\" Eagle Heart said.\u003c/p>\n\u003cp>Littlefeather was a special guest at that event.\u003c/p>\n\u003cp>\"This is one of the reasons why I refused that Academy Award,\" Littlefeather responded. \"I wanted to break barriers. I wanted to see young actresses acting not specifically a cowboy and Indian role but a role being anything on the screen that you want to be.\"\u003c/p>\n\u003cp>\u003ciframe title=\"SACHEEN, Breaking the silence OFFICIAL TRAILER\" src=\"https://player.vimeo.com/video/316908967?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Littlefeather shares information about her life, activism and pioneering stand at the 45th Academy Awards in the recently released documentary, \"Sacheen, Breaking the Silence.\"\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "coronvirus-fears-wont-stop-sf-lunar-new-year-festivities",
"title": "Coronavirus Fears Won't Stop SF Lunar New Year Festivities",
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"content": "\u003cp>In a cavernous warehouse on San Francisco’s waterfront, Stephanie Mufson and her small team of builders and decorators are putting the final touches on an array of spectacularly gaudy floats. They’re for the city’s Chinese New Year Parade this weekend — 2020 is the Year of the Rat.\u003c/p>\n\u003cp>“We have rats everywhere!” Mufson said, pointing out a pair of massive gold rats looking very pleased with themselves as they teeter on a pile of gleaming treasure.\u003c/p>\n\u003cfigure id=\"attachment_11800366\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800366\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41153_gold-rats-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gold rats await the Chinese New Year Parade at Pier 54. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cavernous space is a psychedelic jumble of outsize critters. Gold ones … red and white glittery ones … and cute little gray ones holding watering cans.\u003c/p>\n\u003cp>“So, yeah,” Mufson said. “A lot of different ways of interpreting the rat.”\u003c/p>\n\u003cp>Some U.S. cities have canceled their Chinese New Year celebrations this year, owing to safety concerns with the spread of the new coronavirus beyond China. But in San Francisco, host to one of the oldest and largest Lunar New Year festivals and parades in the country, things are going ahead as planned.\u003c/p>\n\u003cp>Donna Ng has been attending the event for more than 30 years. She said she’s not about to stay home because of the coronavirus.\u003c/p>\n\u003cp>“I don’t think it’s going to affect the parade,” Ng said. “We’re talking thousands and thousands and thousands of people and only a handful are sick.”\u003c/p>\n\u003cfigure id=\"attachment_11800364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800364\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime parade attendee Donna Ng hopes people won’t stay home from the celebrations out of fear of getting sick. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fears about the spread of the coronavirus have caused the cancellation of celebrations this year in cities of all sizes, like New York, Denver and Elk Grove near Sacramento.\u003c/p>\n\u003cp>“I know there’s a lot of concern right now,” said San Francisco event organizer William Gee. “And I think there’s a lot of confusion, maybe even some misinformation, depending on where you get it from.”\u003c/p>\n\u003cp>San Francisco officials are trying to allay concerns about the spread of the virus ahead of the weekend’s festivities. Norman Yee, president of the city’s Board of Supervisors, fears the virus is an opportunity for some people to justify racist attitudes against the Chinese-American community.\u003c/p>\n\u003cp>“I urge all people that come year after year to continue to come to this parade on Saturday and have the fun that they always have, and that we continue supporting our community at large but in particular our API and Chinese American businesses,” Yee said.\u003c/p>\n\u003cp>Gee said his team has been working through community concerns s, while at the same time maintaining a sense of perspective.\u003c/p>\n\u003cp>“Health officials still consider the San Francisco Bay Area to be at very, very low risk,” Gee said. “There are some health officials that actually say there’s a higher risk of contracting the flu rather than the coronavirus.”\u003c/p>\n\u003cp>Gee said organizers aren’t taking any special precautions for the event this weekend.\u003c/p>\n\u003cp>[aside postID=news_11798751 label='What You Need to Know' hero=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40986_iStock-1170728885-qut-1020x680.jpg\"]\u003c/p>\n\u003cp>“We’ll have wash bins where people can wash their hands,” he said. “There may be some antibacterial or disinfectant soap as well that people can use. But this is kind of standard fare that we’ve been offering year after year.”\u003c/p>\n\u003cp>The city’s Department of Public Health is currently not recommending the cancellation of public events and is advising attendees to take the usual wintertime precautions: Wash hands, get a flu shot and cover coughs and sneezes.\u003c/p>\n\u003cp>“If people want to come out for the parade, they should feel free to do so,” said Susan Philip, director of the disease prevention and control branch at San Francisco Department of Public Health.\u003c/p>\n\u003cp>Longtime parade attendee Ng said she hopes people won’t stay away from this weekend’s festivities because they’re scared of getting sick, and suggests wearing a mask if that makes you feel more comfortable.\u003c/p>\n\u003cp>“If people want to wear masks, that’s up to them,” Ng said. “But I’m not planning on it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>KQED’s Marco Siler-Gonzales contributed to this report.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Some U.S. cities have canceled their Chinese New Year celebrations this year. But in San Francisco, things are going ahead as planned.",
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"title": "Coronavirus Fears Won't Stop SF Lunar New Year Festivities | KQED",
"description": "Some U.S. cities have canceled their Chinese New Year celebrations this year. But in San Francisco, things are going ahead as planned.",
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"headline": "Coronavirus Fears Won't Stop SF Lunar New Year Festivities",
"datePublished": "2020-02-06T13:59:34-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a cavernous warehouse on San Francisco’s waterfront, Stephanie Mufson and her small team of builders and decorators are putting the final touches on an array of spectacularly gaudy floats. They’re for the city’s Chinese New Year Parade this weekend — 2020 is the Year of the Rat.\u003c/p>\n\u003cp>“We have rats everywhere!” Mufson said, pointing out a pair of massive gold rats looking very pleased with themselves as they teeter on a pile of gleaming treasure.\u003c/p>\n\u003cfigure id=\"attachment_11800366\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800366\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41153_gold-rats-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gold rats await the Chinese New Year Parade at Pier 54. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cavernous space is a psychedelic jumble of outsize critters. Gold ones … red and white glittery ones … and cute little gray ones holding watering cans.\u003c/p>\n\u003cp>“So, yeah,” Mufson said. “A lot of different ways of interpreting the rat.”\u003c/p>\n\u003cp>Some U.S. cities have canceled their Chinese New Year celebrations this year, owing to safety concerns with the spread of the new coronavirus beyond China. But in San Francisco, host to one of the oldest and largest Lunar New Year festivals and parades in the country, things are going ahead as planned.\u003c/p>\n\u003cp>Donna Ng has been attending the event for more than 30 years. She said she’s not about to stay home because of the coronavirus.\u003c/p>\n\u003cp>“I don’t think it’s going to affect the parade,” Ng said. “We’re talking thousands and thousands and thousands of people and only a handful are sick.”\u003c/p>\n\u003cfigure id=\"attachment_11800364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800364\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime parade attendee Donna Ng hopes people won’t stay home from the celebrations out of fear of getting sick. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fears about the spread of the coronavirus have caused the cancellation of celebrations this year in cities of all sizes, like New York, Denver and Elk Grove near Sacramento.\u003c/p>\n\u003cp>“I know there’s a lot of concern right now,” said San Francisco event organizer William Gee. “And I think there’s a lot of confusion, maybe even some misinformation, depending on where you get it from.”\u003c/p>\n\u003cp>San Francisco officials are trying to allay concerns about the spread of the virus ahead of the weekend’s festivities. Norman Yee, president of the city’s Board of Supervisors, fears the virus is an opportunity for some people to justify racist attitudes against the Chinese-American community.\u003c/p>\n\u003cp>“I urge all people that come year after year to continue to come to this parade on Saturday and have the fun that they always have, and that we continue supporting our community at large but in particular our API and Chinese American businesses,” Yee said.\u003c/p>\n\u003cp>Gee said his team has been working through community concerns s, while at the same time maintaining a sense of perspective.\u003c/p>\n\u003cp>“Health officials still consider the San Francisco Bay Area to be at very, very low risk,” Gee said. “There are some health officials that actually say there’s a higher risk of contracting the flu rather than the coronavirus.”\u003c/p>\n\u003cp>Gee said organizers aren’t taking any special precautions for the event this weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ll have wash bins where people can wash their hands,” he said. “There may be some antibacterial or disinfectant soap as well that people can use. But this is kind of standard fare that we’ve been offering year after year.”\u003c/p>\n\u003cp>The city’s Department of Public Health is currently not recommending the cancellation of public events and is advising attendees to take the usual wintertime precautions: Wash hands, get a flu shot and cover coughs and sneezes.\u003c/p>\n\u003cp>“If people want to come out for the parade, they should feel free to do so,” said Susan Philip, director of the disease prevention and control branch at San Francisco Department of Public Health.\u003c/p>\n\u003cp>Longtime parade attendee Ng said she hopes people won’t stay away from this weekend’s festivities because they’re scared of getting sick, and suggests wearing a mask if that makes you feel more comfortable.\u003c/p>\n\u003cp>“If people want to wear masks, that’s up to them,” Ng said. “But I’m not planning on it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Marco Siler-Gonzales contributed to this report.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "dreaming-the-golden-state-with-the-california-report-magazine-part-two",
"title": "'Dreaming the Golden State' With The California Report Magazine (Part Two)",
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"headTitle": "‘Dreaming the Golden State’ With The California Report Magazine (Part Two) | KQED",
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"content": "\u003cp>In late November, The California Report Magazine held a night of live storytelling that explored stories about California dreams found, and lost, and whether that dream is still alive. In Part Two, hear selected highlights from the event, “Dreaming the Golden State,” held at the Brava Theater in San Francisco. You can listen to part one of our program \u003ca href=\"https://www.kqed.org/news/11796176/dreaming-the-golden-state-with-the-california-report-magazine-part-one\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Discovering My True Self in Modesto\u003c/h2>\n\u003cfigure id=\"attachment_11797334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797334\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Toni Rodriguez of Modesto performs his ‘Letter to My California Dreamer’ that he wrote to himself, live on stage at San Francisco’s Brava Theater. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As part of the show’s “Letter to My California Dreamer” series, several listeners shared what they had written to the first person in their family who moved to the Golden State with a dream. For Toni Rodriguez, that person was himself. He wrote a \u003ca href=\"https://www.kqed.org/news/11707691/letter-to-my-california-dreamer-discovering-my-true-self-in-modesto\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> to the kid from the Bronx who dreamed of moving west and surfing with the Beach Boys. After arriving in California, he was able to find and live as his true self.\u003c/p>\n\u003ch2>Her Double Life\u003c/h2>\n\u003cfigure id=\"attachment_11797371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797371\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-800x548.jpg\" alt=\"\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">My Linh Le performs a dance titled ‘Underwater.’ \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My Linh Le has been lying to her family about who she really is for decades. Growing up, her Vietnamese immigrant parents were extremely strict and prone to rage. So she didn’t tell them when she decided to switch her major from biochemistry to dance. As My Linh told reporter April Dembosky, she’s had to take some big steps to cover up \u003ca href=\"https://www.kqed.org/news/11670259/her-double-life\" target=\"_blank\" rel=\"noopener noreferrer\">her double life\u003c/a>, and she has her reasons.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Finding Home and Harvest in Salinas\u003c/h2>\n\u003cfigure id=\"attachment_11797386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797386\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-800x526.jpg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sandra Barocio reads a letter she wrote to her big brother, Humberto. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sandra Barocio of Moss Beach wrote a\u003ca href=\"https://www.kqed.org/news/11674420/letter-to-my-california-dreamer-finding-home-and-harvest-in-salinas\" target=\"_blank\" rel=\"noopener noreferrer\"> letter\u003c/a> to the family member who brought her to California, her older brother, Humberto. She remembers making the long drive north from Mexico in the family’s brown Dodge Polara, and how she and her parents and siblings had to sleep under a tree, until Humberto found them shelter. Fifty-two year later, she wants to thank him for delivering their family safely to the Golden State.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Daps and Hugs: I’m Moving Out of Oakland\u003c/h2>\n\u003cfigure id=\"attachment_11797412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797412\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-800x598.jpg\" alt=\"\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw, host of KQED’s arts and culture podcast ‘Rightnowish’ describes leaving his hometown. (Courtesy of Alain McLaughlin)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/ogpenn?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> is a cultural icon in his own right, with deep roots in Oakland. He’s also the host of KQED’s “\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>” podcast, which explores how Bay Area identity shapes the artists who live and create there. At the event, Pen describes the weekend he \u003ca href=\"https://www.kqed.org/arts/13865533/daps-and-hugs-im-moving-out-of-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">moved away\u003c/a> from his home town.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Pursuing the Next Great American Novel\u003c/h2>\n\u003cfigure id=\"attachment_11797432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797432\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tai Moses reads a letter to her father, who moved to California with dreams of becoming a writer. (Courtesy of Alain McLaughlin)\u003c/figcaption>\u003c/figure>\n\u003cp>The last “\u003ca href=\"https://www.kqed.org/news/tag/letters-to-my-california-dreamer\" target=\"_blank\" rel=\"noopener noreferrer\">Letter to My California Dreamer\u003c/a>” was read by Tai Moses. She \u003ca href=\"https://www.kqed.org/news/11694742/letter-to-my-california-dreamer-pursuing-the-next-great-american-novel\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> to her father, who crossed the country from Coney Island to Los Angeles, with his portable typewriter in hand.\u003c/p>\n\u003ch2>Mike Marshall Gets a Second Chance\u003c/h2>\n\u003cfigure id=\"attachment_11797646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11797646 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">R&B singer Mike Marshall performs “I Love Music.” (Courtesy of Alain McLaughlin)\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID=news_11796176 label='Part One' hero=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/DreamingGoldenState_Eventbrite-1020x538.jpg\"]\u003c/p>\n\u003cp>You may \u003ca href=\"https://www.youtube.com/watch?v=DRte0S2a_dA\" target=\"_blank\" rel=\"noopener noreferrer\">recognize\u003c/a> Mike Marshall’s voice, even if you don’t know his name. The R&B singer wasn’t always credited for his hits, and he struggled for many years with addiction. Now he’s starting to get the recognition he deserves and a \u003ca href=\"https://www.kqed.org/arts/13864913/after-last-black-man-and-us-singer-mike-marshall-gets-a-second-chance\" target=\"_blank\" rel=\"noopener noreferrer\">second chance\u003c/a>. His music has recently been featured in the films “\u003ca href=\"https://youtu.be/hNCmb-4oXJA\" target=\"_blank\" rel=\"noopener noreferrer\">Us\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=C0FnJDhY9-0\" target=\"_blank\" rel=\"noopener noreferrer\">The Last Black Man in San Francisco.\u003c/a>” Mike Marshall closed out our event with a live performance.\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The California Report Magazine listeners and reporters take the stage to share their stories about the 'California Dream' and whether it's still alive.",
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"title": "'Dreaming the Golden State' With The California Report Magazine (Part Two) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In late November, The California Report Magazine held a night of live storytelling that explored stories about California dreams found, and lost, and whether that dream is still alive. In Part Two, hear selected highlights from the event, “Dreaming the Golden State,” held at the Brava Theater in San Francisco. You can listen to part one of our program \u003ca href=\"https://www.kqed.org/news/11796176/dreaming-the-golden-state-with-the-california-report-magazine-part-one\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Discovering My True Self in Modesto\u003c/h2>\n\u003cfigure id=\"attachment_11797334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797334\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Toni Rodriguez of Modesto performs his ‘Letter to My California Dreamer’ that he wrote to himself, live on stage at San Francisco’s Brava Theater. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As part of the show’s “Letter to My California Dreamer” series, several listeners shared what they had written to the first person in their family who moved to the Golden State with a dream. For Toni Rodriguez, that person was himself. He wrote a \u003ca href=\"https://www.kqed.org/news/11707691/letter-to-my-california-dreamer-discovering-my-true-self-in-modesto\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> to the kid from the Bronx who dreamed of moving west and surfing with the Beach Boys. After arriving in California, he was able to find and live as his true self.\u003c/p>\n\u003ch2>Her Double Life\u003c/h2>\n\u003cfigure id=\"attachment_11797371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797371\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-800x548.jpg\" alt=\"\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">My Linh Le performs a dance titled ‘Underwater.’ \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My Linh Le has been lying to her family about who she really is for decades. Growing up, her Vietnamese immigrant parents were extremely strict and prone to rage. So she didn’t tell them when she decided to switch her major from biochemistry to dance. As My Linh told reporter April Dembosky, she’s had to take some big steps to cover up \u003ca href=\"https://www.kqed.org/news/11670259/her-double-life\" target=\"_blank\" rel=\"noopener noreferrer\">her double life\u003c/a>, and she has her reasons.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Finding Home and Harvest in Salinas\u003c/h2>\n\u003cfigure id=\"attachment_11797386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797386\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-800x526.jpg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sandra Barocio reads a letter she wrote to her big brother, Humberto. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sandra Barocio of Moss Beach wrote a\u003ca href=\"https://www.kqed.org/news/11674420/letter-to-my-california-dreamer-finding-home-and-harvest-in-salinas\" target=\"_blank\" rel=\"noopener noreferrer\"> letter\u003c/a> to the family member who brought her to California, her older brother, Humberto. She remembers making the long drive north from Mexico in the family’s brown Dodge Polara, and how she and her parents and siblings had to sleep under a tree, until Humberto found them shelter. Fifty-two year later, she wants to thank him for delivering their family safely to the Golden State.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Daps and Hugs: I’m Moving Out of Oakland\u003c/h2>\n\u003cfigure id=\"attachment_11797412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797412\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-800x598.jpg\" alt=\"\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw, host of KQED’s arts and culture podcast ‘Rightnowish’ describes leaving his hometown. (Courtesy of Alain McLaughlin)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/ogpenn?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> is a cultural icon in his own right, with deep roots in Oakland. He’s also the host of KQED’s “\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>” podcast, which explores how Bay Area identity shapes the artists who live and create there. At the event, Pen describes the weekend he \u003ca href=\"https://www.kqed.org/arts/13865533/daps-and-hugs-im-moving-out-of-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">moved away\u003c/a> from his home town.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Pursuing the Next Great American Novel\u003c/h2>\n\u003cfigure id=\"attachment_11797432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797432\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tai Moses reads a letter to her father, who moved to California with dreams of becoming a writer. (Courtesy of Alain McLaughlin)\u003c/figcaption>\u003c/figure>\n\u003cp>The last “\u003ca href=\"https://www.kqed.org/news/tag/letters-to-my-california-dreamer\" target=\"_blank\" rel=\"noopener noreferrer\">Letter to My California Dreamer\u003c/a>” was read by Tai Moses. She \u003ca href=\"https://www.kqed.org/news/11694742/letter-to-my-california-dreamer-pursuing-the-next-great-american-novel\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> to her father, who crossed the country from Coney Island to Los Angeles, with his portable typewriter in hand.\u003c/p>\n\u003ch2>Mike Marshall Gets a Second Chance\u003c/h2>\n\u003cfigure id=\"attachment_11797646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11797646 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">R&B singer Mike Marshall performs “I Love Music.” (Courtesy of Alain McLaughlin)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You may \u003ca href=\"https://www.youtube.com/watch?v=DRte0S2a_dA\" target=\"_blank\" rel=\"noopener noreferrer\">recognize\u003c/a> Mike Marshall’s voice, even if you don’t know his name. The R&B singer wasn’t always credited for his hits, and he struggled for many years with addiction. Now he’s starting to get the recognition he deserves and a \u003ca href=\"https://www.kqed.org/arts/13864913/after-last-black-man-and-us-singer-mike-marshall-gets-a-second-chance\" target=\"_blank\" rel=\"noopener noreferrer\">second chance\u003c/a>. His music has recently been featured in the films “\u003ca href=\"https://youtu.be/hNCmb-4oXJA\" target=\"_blank\" rel=\"noopener noreferrer\">Us\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=C0FnJDhY9-0\" target=\"_blank\" rel=\"noopener noreferrer\">The Last Black Man in San Francisco.\u003c/a>” Mike Marshall closed out our event with a live performance.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "last-picture-show-historic-sf-theater-plays-its-final-midnight-movie",
"title": "Last Picture Show: Historic SF Theater Plays its Final Midnight Movie",
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"headTitle": "Last Picture Show: Historic SF Theater Plays its Final Midnight Movie | KQED",
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"content": "\u003cp>The Clay Theatre in San Francisco showed cult-classic “The Rocky Horror Picture Show” one last time this weekend before closing its doors for good.\u003c/p>\n\u003cp>On the last Saturday of the month for the past 13 years, “Rocky Horror” has been a midnight movie staple at the theater. The Clay took on the show when no other theater in San Francisco was hosting it, and the cast followed the “Rocky Horror” tradition of creating an inclusive space where everyone is made to feel like family.\u003c/p>\n\u003cp>Many are mourning the loss of the single-screen independent movie theater in Pacific Heights, including filmmaker \u003ca href=\"https://www.kqed.org/news/11797773/john-waters-on-clay-theatre-closure-a-real-era-for-me-is-shutting-down-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>“If you played at the Clay it gave your movie kind of a little honor of being a real art movie, and being difficult, and causing trouble, and it was just a good club to belong to,” Waters told KQED. “It really mattered very much of climbing up from the underground to play there.”\u003c/p>\n\u003cp>While “Rocky Horror” — performed by the troupe \u003ca href=\"http://www.bawdycaste.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bawdy Caste\u003c/a> — will live on in San Francisco at a to-be-determined location, the Clay Theatre is set to close Sunday, Jan. 26, after 110 years in business.\u003c/p>\n\u003cfigure id=\"attachment_11798112\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798112\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-800x533.jpg\" alt=\"The Rocky Horror Picture Show character Dr. Scott meets with the cast outside of the Clay Theater before their midnight movie performance on Saturday. The theater is closing its doors on Sunday January 26, 2020 after the last showing, after 110 years in business.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rocky Horror Picture Show character Dr. Scott laughs with the cast and crew outside of the Clay Theatre before their last midnight movie performance at the theater on Saturday. After 110 years in business, the theater will close its doors on Sunday, January 26, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798130\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798130\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-800x533.jpg\" alt=\"Carolyn Patten and Blake Griffin, both dressed as the character Dr. Frank-N-Furter, pick up tickets from the box office at the Clay Theater for a sold-out performance of the Rocky Horror Picture show on Saturday. This midnight movie performance is the last for the theater, which is shutting its doors on Sunday after 110 years.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blake Griffin and Carolyn Patten, both dressed as the character Dr. Frank-N-Furter, pick up tickets from the box office at the Clay Theatre for a sold-out performance of the Rocky Horror Picture show on Saturday. This midnight movie performance is the last for the theater, which is shutting its doors on Sunday after 110 years. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798118\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798118\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-800x533.jpg\" alt=\"Clay Theater projectionist and employee of 15 years, Michael Blythe, talks on stage to a sold-out crowd for the last performance of Rocky Horror Picture Show at the theater on Saturday. 10 years previously when the theater faced a shut-down, he was able to stand on stage with the good news that the theater would stay open. This Saturday, he didn't share the same news but remained optimistic about the theaters future.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Theatre projectionist and employee of 15 years, Michael Blythe, talks on stage to a sold-out crowd for the last performance of Rocky Horror Picture Show at the theater on Saturday. 10 years previously when the theater faced a shut-down, he was able to stand on stage with the good news that the theater would stay open. This Saturday, he didn’t share the same news but remained optimistic about the theater’s future. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798156\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798156\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-800x533.jpg\" alt=\"Crowds fill the Clay Theater in San Francisco for the final midnight movie on Saturday, before the theater closes after 110 years of operation. The independent theater is known for its arthouse movies and showed the San Francisco midnight premiere of John Water's film, Pink Flamingos, in 1972.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds fill the Clay Theatre in San Francisco for the final midnight movie on Saturday, before the theater closes after 110 years of operation. The independent theater is known for its arthouse movies and showed the San Francisco midnight premiere of John Water’s film, Pink Flamingos, in 1972. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798123\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798123\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-800x533.jpg\" alt=\"The Rocky Horror Picture Show, performed by Bawdy Caste, opened up at the Clay Theater for its last midnight movie show Saturday night, before its doors will close on Sunday.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rocky Horror Picture Show, performed by Bawdy Caste, opened up at the Clay Theatre for its last midnight movie show Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-800x533.jpg\" alt=\"An emotional Julie Shepard took the stage to talk about the loss of the Clay Theater before the Rocky Horror Picture Show performance on Saturday. She has performed in the show since it first opened at the Clay in January of 2007 and on Saturday played Susan Sarandon's character Janet Weiss. She said that Rocky would find a new home but as far as the theater, "it's a real loss for the City, employees and the neighborhood."\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An emotional Julie Shepard took the stage to talk about the loss of the Clay Theatre before the Rocky Horror Picture Show performance on Saturday. She has performed in the show since it first opened at the Clay in January of 2007 and on Saturday played Susan Sarandon’s character, Janet Weiss. She said that Rocky would find a new home but as far as the theater, “it’s a real loss for the City, employees and the neighborhood.” \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798126\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798126\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-800x533.jpg\" alt=\"Rice flies in the air during the wedding scene in the Rocky Horror Picture Show during a sold out performance at the Clay Theater on Saturday. Many theaters don't like to host Rocky Horror due to the mess of rice and toilet paper and the late night debauchery. The Clay welcomed the cast of Rocky Horror in 2007 when no other theater was playing the film.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rice flies in the air during the wedding scene in the Rocky Horror Picture Show during a sold-out performance at the Clay Theatre on Saturday. Many theaters don’t like to host Rocky Horror due to the mess of rice and toilet paper and the late-night debauchery. The Clay welcomed the cast of Rocky Horror in 2007 when no other theater was playing the film. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11798135\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798135\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-800x533.jpg\" alt=\"The last midnight movie at the Clay Theater on Fillmore Street in San Francisco on Saturday. The theater is set to close on Sunday January 26, 2020.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last midnight movie at the Clay Theatre on Fillmore Street in San Francisco on Saturday. The theater is set to close on Sunday, January 26, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "While \"Rocky Horror\" will live on in San Francisco at a to-be-determined location, the Clay Theatre is set to close after 110 years in business.",
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"title": "Last Picture Show: Historic SF Theater Plays its Final Midnight Movie | KQED",
"description": "While "Rocky Horror" will live on in San Francisco at a to-be-determined location, the Clay Theatre is set to close after 110 years in business.",
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"headline": "Last Picture Show: Historic SF Theater Plays its Final Midnight Movie",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Clay Theatre in San Francisco showed cult-classic “The Rocky Horror Picture Show” one last time this weekend before closing its doors for good.\u003c/p>\n\u003cp>On the last Saturday of the month for the past 13 years, “Rocky Horror” has been a midnight movie staple at the theater. The Clay took on the show when no other theater in San Francisco was hosting it, and the cast followed the “Rocky Horror” tradition of creating an inclusive space where everyone is made to feel like family.\u003c/p>\n\u003cp>Many are mourning the loss of the single-screen independent movie theater in Pacific Heights, including filmmaker \u003ca href=\"https://www.kqed.org/news/11797773/john-waters-on-clay-theatre-closure-a-real-era-for-me-is-shutting-down-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>“If you played at the Clay it gave your movie kind of a little honor of being a real art movie, and being difficult, and causing trouble, and it was just a good club to belong to,” Waters told KQED. “It really mattered very much of climbing up from the underground to play there.”\u003c/p>\n\u003cp>While “Rocky Horror” — performed by the troupe \u003ca href=\"http://www.bawdycaste.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bawdy Caste\u003c/a> — will live on in San Francisco at a to-be-determined location, the Clay Theatre is set to close Sunday, Jan. 26, after 110 years in business.\u003c/p>\n\u003cfigure id=\"attachment_11798112\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798112\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-800x533.jpg\" alt=\"The Rocky Horror Picture Show character Dr. Scott meets with the cast outside of the Clay Theater before their midnight movie performance on Saturday. The theater is closing its doors on Sunday January 26, 2020 after the last showing, after 110 years in business.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rocky Horror Picture Show character Dr. Scott laughs with the cast and crew outside of the Clay Theatre before their last midnight movie performance at the theater on Saturday. After 110 years in business, the theater will close its doors on Sunday, January 26, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798130\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798130\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-800x533.jpg\" alt=\"Carolyn Patten and Blake Griffin, both dressed as the character Dr. Frank-N-Furter, pick up tickets from the box office at the Clay Theater for a sold-out performance of the Rocky Horror Picture show on Saturday. This midnight movie performance is the last for the theater, which is shutting its doors on Sunday after 110 years.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blake Griffin and Carolyn Patten, both dressed as the character Dr. Frank-N-Furter, pick up tickets from the box office at the Clay Theatre for a sold-out performance of the Rocky Horror Picture show on Saturday. This midnight movie performance is the last for the theater, which is shutting its doors on Sunday after 110 years. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798118\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798118\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-800x533.jpg\" alt=\"Clay Theater projectionist and employee of 15 years, Michael Blythe, talks on stage to a sold-out crowd for the last performance of Rocky Horror Picture Show at the theater on Saturday. 10 years previously when the theater faced a shut-down, he was able to stand on stage with the good news that the theater would stay open. This Saturday, he didn't share the same news but remained optimistic about the theaters future.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Theatre projectionist and employee of 15 years, Michael Blythe, talks on stage to a sold-out crowd for the last performance of Rocky Horror Picture Show at the theater on Saturday. 10 years previously when the theater faced a shut-down, he was able to stand on stage with the good news that the theater would stay open. This Saturday, he didn’t share the same news but remained optimistic about the theater’s future. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798156\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798156\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-800x533.jpg\" alt=\"Crowds fill the Clay Theater in San Francisco for the final midnight movie on Saturday, before the theater closes after 110 years of operation. The independent theater is known for its arthouse movies and showed the San Francisco midnight premiere of John Water's film, Pink Flamingos, in 1972.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds fill the Clay Theatre in San Francisco for the final midnight movie on Saturday, before the theater closes after 110 years of operation. The independent theater is known for its arthouse movies and showed the San Francisco midnight premiere of John Water’s film, Pink Flamingos, in 1972. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798123\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798123\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-800x533.jpg\" alt=\"The Rocky Horror Picture Show, performed by Bawdy Caste, opened up at the Clay Theater for its last midnight movie show Saturday night, before its doors will close on Sunday.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rocky Horror Picture Show, performed by Bawdy Caste, opened up at the Clay Theatre for its last midnight movie show Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-800x533.jpg\" alt=\"An emotional Julie Shepard took the stage to talk about the loss of the Clay Theater before the Rocky Horror Picture Show performance on Saturday. She has performed in the show since it first opened at the Clay in January of 2007 and on Saturday played Susan Sarandon's character Janet Weiss. She said that Rocky would find a new home but as far as the theater, "it's a real loss for the City, employees and the neighborhood."\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An emotional Julie Shepard took the stage to talk about the loss of the Clay Theatre before the Rocky Horror Picture Show performance on Saturday. She has performed in the show since it first opened at the Clay in January of 2007 and on Saturday played Susan Sarandon’s character, Janet Weiss. She said that Rocky would find a new home but as far as the theater, “it’s a real loss for the City, employees and the neighborhood.” \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798126\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798126\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-800x533.jpg\" alt=\"Rice flies in the air during the wedding scene in the Rocky Horror Picture Show during a sold out performance at the Clay Theater on Saturday. Many theaters don't like to host Rocky Horror due to the mess of rice and toilet paper and the late night debauchery. The Clay welcomed the cast of Rocky Horror in 2007 when no other theater was playing the film.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rice flies in the air during the wedding scene in the Rocky Horror Picture Show during a sold-out performance at the Clay Theatre on Saturday. Many theaters don’t like to host Rocky Horror due to the mess of rice and toilet paper and the late-night debauchery. The Clay welcomed the cast of Rocky Horror in 2007 when no other theater was playing the film. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11798135\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798135\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-800x533.jpg\" alt=\"The last midnight movie at the Clay Theater on Fillmore Street in San Francisco on Saturday. The theater is set to close on Sunday January 26, 2020.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last midnight movie at the Clay Theatre on Fillmore Street in San Francisco on Saturday. The theater is set to close on Sunday, January 26, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "The Cloud Over The Grammys: Allegations Of Sexual Misconduct, Vote Rigging",
"title": "The Cloud Over The Grammys: Allegations Of Sexual Misconduct, Vote Rigging",
"headTitle": "NPR | KQED News",
"content": "\u003cp>Winners of the 62nd Grammy Awards will be announced Sunday night — but there's a cloud hanging over the ceremony. Last week, Deborah Dugan, the recently installed president and CEO of the Recording Academy — which hands out the awards — was placed on administrative leave. Earlier this week, Dugan filed a discrimination \u003ca href=\"https://www.documentcloud.org/documents/6667812-Dugan-EEOC-Complaint.html\" target=\"_blank\" rel=\"noopener noreferrer\">complaint\u003c/a> with the Equal Employment Opportunity Commission that includes allegations of sexual misconduct and vote rigging.\u003c/p>\n\u003cp>The Recording Academy has been struggling for years with criticism that the Grammys were too male, too white, too old and too insular. In came Dugan five months ago, as the Academy's first female leader.\u003c/p>\n\u003cp>She pledged that the organization could do better, as she told NPR in an interview \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\" target=\"_blank\" rel=\"noopener noreferrer\">last month\u003c/a>: \"We've known as an industry for a long time that we have a monumental problem with gender issues.\"\u003c/p>\n\u003cp>Then, just over a week ago and only 10 days before the awards telecast, the Recording Academy \u003ca href=\"https://www.npr.org/2020/01/17/797208517/recording-academy-ceo-suspended-amid-allegations-of-misconduct\">abruptly announced\u003c/a> that it had placed Dugan on leave pending an investigation into an allegation of bullying that came from a female assistant. But in an interview Thursday, Dugan claimed she was placed on leave as retaliation for accusations she made, and changes she proposed.\u003c/p>\n\u003cp>Specifically, Dugan says her suspension is the result of a memo she sent in December to the Academy's Human Resources director, which included an accusation that she had been sexually harassed by the Academy's general counsel, \u003ca href=\"https://www.gtlaw.com/en/professionals/k/katz-joel-a\" target=\"_blank\" rel=\"noopener noreferrer\">Joel Katz\u003c/a>. (Katz is also a former Academy board chair.)\u003c/p>\n\u003cp>In her EEOC complaint, Dugan reiterated her accusations against Katz — and she said she learned that her predecessor, Neil Portnow, had been accused of raping a female artist. Both Katz and Portnow \u003ca href=\"https://www.npr.org/2020/01/21/798269611/ousted-female-chief-files-discrimination-complaint-against-the-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">deny the accusations\u003c/a>, and Portnow said in a statement that he was investigated and exonerated. In the complaint, Dugan also repeated and elaborated upon her accusations from the HR memo related to questionable financial expenditures, rigged Grammy voting and self-dealing at the public, non-profit organization.\u003c/p>\n\u003cp>In an interview with NPR on Thursday, Dugan reiterated her accusation against Katz as it is laid out in the EEOC complaint. She said that the incident occurred on May 18, 2019, before she had started officially working at the Academy in August. She had been invited to attend the first day of a three-day board session held at the Ritz Carlton hotel in Laguna Niguel, Calif. She says Katz (an extremely high-profile attorney who recently negotiated \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\" target=\"_blank\" rel=\"noopener noreferrer\">the sale\u003c/a> of Taylor Swift's former label home, Big Machine Label Group, to Scooter Braun's Ithaca Holdings Group) invited her to dine with him that evening.\u003c/p>\n\u003cp>\"Under the guise of a work dinner,\" she told NPR, \"I was propositioned by the general counsel — that is, Joel [Katz]. It started with calling me 'baby' and telling me how pretty I was. And then in the course of the dinner, after ordering a bottle of wine, I got a little more uncomfortable. He was talking about his private plane and trips that we could do and it ended with him leaning forward to kiss me. As I look back now, I think that there — the fact that they had me meet him and have dinner with him first — was sort of a test of how much I would acquiesce to.\"\u003cspan style=\"font-weight: 400\">[aside tag='sexual-harassment' label='Related Coverage']\u003c/span>In the moment, Dugan added, she had been \"disgusted and bewildered,\" and that she immediately went back to her hotel room and called \"quite a few people\" to tell them what had happened.\u003c/p>\n\u003cp>In a statement sent to NPR on Wednesday, Katz's lawyer, Howard Weitzman, said in part: \"Ms. Dugan's allegations of harassment and her description of a dinner at the steakhouse in the Ritz Carlton, Laguna Niguel are false, and Mr. Katz categorically and emphatically denies her version of that evening. .... Mr. Katz believed they had a productive and professional meeting in a restaurant where a number of members of the Board of Trustees of the Academy, and others, were dining. ... Mr. Katz will cooperate in any and all investigations or lawsuits by telling the absolute and whole truth. Hopefully Ms. Dugan will do the same.\"\u003c/p>\n\u003cp>\"You hear about these things in entertainment and certainly for women in leadership,\" said Dugan, who immediately prior to coming the Academy had led the charity (RED) after roles as president of Disney Publishing Worldwide and as an executive at EMI Records Group. \"But after so many years, and having such a track record of integrity and purpose, to have this happen — I was very disillusioned and to be honest, a little scared ... And there was a continuing pattern afterwards of whenever we had private conversations, he was calling me 'baby,' telling me how pretty I was.\"\u003c/p>\n\u003cp>Dugan and her lawyer, Douglas Wigdor, denied to NPR that she had bullied the Academy employee — a woman named Claudine Little, who had previously served as the executive assistant to Portnow. The Academy has said that Dugan \u003ca href=\"https://www.npr.org/2020/01/21/798269611/ousted-female-chief-files-discrimination-complaint-against-the-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">is accused\u003c/a> of creating a \"toxic and intolerable\" work environment and engaging in \"abusive and bullying conduct.\"\u003c/p>\n\u003cp>In a statement sent to NPR via the Recording Academy on Wednesday, Little said: \"Ms. Dugan's choice to litigate in the press and spread a false narrative about the Academy and me and my colleagues is regrettable, but it is also emblematic of Ms. Dugan's abusive and bullying conduct while she served as the Academy's president and CEO. I am proud of my career with the Academy—where, as a woman, I was able to work my way from secretary to director of administration in the executive suite, solely based on merit and while working for and with leaders far more demanding and hard-charging than Ms. Dugan. It is disappointing that Ms. Dugan hopes to leverage public opinion along gender lines and expects not to be scrutinized for her inexcusable behavior simply because she is a woman; she should be held to the same standard.\"\u003c/p>\n\u003cp>In the Thursday NPR interview, Dugan said that she had found Little's work lacking, and that she had suggested moving the assistant into another role at the Academy rather than terminate her employment. (The situation with Little is also described in the EEOC complaint.)\u003c/p>\n\u003cp>Wigdor added: \"Neil Portnow was accused of rape. Was he placed on administrative leave? No. So to place Deborah on an administrative leave over being bossy — and by the way, women are bossy, men are bosses — to put her on an administrative leave over something as innocuous and benign as being allegedly bossy to an administrative assistant just doesn't make any sense.\"\u003c/p>\n\u003cp>In the discrimination complaint, Dugan also repeated her allegations of irregularities and conflicts of interest in the Grammy voting process, as well as substantial payouts of fees to outside law firms and to individual board members.\u003c/p>\n\u003cp>These include payouts to Greenberg Traurig, where Joel Katz is an attorney. In \u003ca href=\"https://www.grammy.com/sites/com/files/2017_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2017\u003c/a>, according to the Academy's 990 forms, the firm was paid $6.3 million, as well as $1.75 million in \u003ca href=\"https://www.grammy.com/sites/com/files/2016_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2016\u003c/a> and over $1.1 million in \u003ca href=\"https://www.grammy.com/sites/com/files/2015_naras_form_990_public_discolusre_copy.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2015\u003c/a>, with similar amounts in the two previous years. According to the EEOC filing, the Academy also pays Katz personally $250,000 annually as a retainer.\u003c/p>\n\u003cp>Ms. Dugan's choice to litigate in the press and spread a false narrative about the Academy and me and my colleagues is regrettable, but it is also emblematic of Ms. Dugan's abusive and bullying conduct while she served as the Academy's president and CEO.\u003c/p>\n\u003cp>On Thursday, Dugan also said that the board and executive committee reacted negatively to some urgent recommendations from the Academy's Diversity and Inclusion Task Force, a group formed in the wake of widely denounced comments made by her predecessor, longtime Academy president and CEO Portnow. (After the 2018 Grammy Awards ceremony was criticized for a lack of female nominees and performers, Portnow said that women in the industry would just have to \"\u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">step up\u003c/a>\" to be recognized.)\u003c/p>\n\u003cp>\"There were some things I got pushback on like, 'Oh, we don't need a chief diversity officer,\" Dugan told NPR. She also described what she saw as conflicts of interest in the process of nominating artists for Grammys.\u003c/p>\n\u003cp>\"There is a degree of corruption in that system,\" she said. \"There is a problem when you have board members on those committees who have a vested interest in having certain artists winning.\"\u003cspan style=\"font-weight: 400\">[pullquote size='large' align='right' citation='Statement from the Recording Academy']'Ms. Dugan's choice to litigate in the press and spread a false narrative about the Academy and me and my colleagues is regrettable, but it is also emblematic of Ms. Dugan's abusive and bullying conduct while she served as the Academy's president and CEO.'[/pullquote]\u003c/span>\u003c/p>\n\u003cp>She also reiterated in her EEOC complaint that the telecast's producer of 40 years, Ken Ehrlich, holds undue influence over the nominations for high-profile Grammy award categories, including Record of the Year and Album of the Year.\u003c/p>\n\u003cp>\"Do I think that this system of him making it clear who he'd like on the show to the board members who are then in the room voting is not a correct one going forward?\" she asked rhetorically. \"I do. I think it should be changed.\"\u003c/p>\n\u003cp>In an email sent to \u003ca href=\"https://www.nytimes.com/2020/01/23/arts/music/grammys-deborah-dugan.html\" target=\"_blank\" rel=\"noopener noreferrer\">The New York Times\u003c/a> on Thursday, Ehrlich said, \"There is no truth to what she alleges.\"\u003c/p>\n\u003cp>In a statement sent to NPR on Thursday afternoon, the chairman of the Recording Academy, Harvey Mason, Jr., and Bill Freimuth, the Academy's Chief Awards Officer, said in part: \"Spurious allegations claiming members or committees use our process to push forward nominations for artists they have relationships with are categorically false, misleading and wrong. ... Because these committee members are at the top of their craft, and many members work with multiple artists, it is not unusual that some of the people in each room will end up with nominations from the first round. There are strict rules in place to address any conflict of interest.\"\u003c/p>\n\u003cp>(Up until about a decade ago, I was a Grammy voter, and also served on the \"craft\" committee for the Best Album Notes field, one of a small group of Grammy categories outside the \"nomination review\" process and not voted on by the general membership. In addition, my husband, Joshua Sherman, was also a Grammy voter, and served on Academy committees; he was also part of teams that created several Grammy-winning recordings, and he produced several other Grammy-nominated albums. In my own experience, it is certainly true that in certain Grammy categories, especially in smaller genres or for fields involving particular professional expertise, there is a limited universe of accredited Grammy voters willing to volunteer their time to serve on award committees.)\u003c/p>\n\u003cp>Mason, a Grammy-nominated songwriter, record producer and music executive, just became the chair of the Recording Academy's board of trustees \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%E2%84%A2-announces-harvey-mason-jr-tammy-hurt-terry-hemmings-and-christine\" target=\"_blank\" rel=\"noopener noreferrer\">in June\u003c/a>. After Dugan was put on leave, he became its is acting CEO. In a Thursday interview with NPR, he would not answer any specific questions about the Dugan situation or the conflicting narratives, saying that the behind-the-scenes struggle detracted from the awards ceremony.\u003c/p>\n\u003cp>\"This is our biggest season for me,\" he said, \"and this night is everything to our organization. What we are doing is really focusing on the show and the musicians, and trying to make sure that the spotlight doesn't get taken away from that.\"\u003c/p>\n\u003cp>When asked if he took Dugan's allegations — including sexual misconduct, significant financial improprieties, and vote rigging — as grave matters, Mason said, \"Everything is taken seriously. Anything that somebody says, whether it's a guy at the coffee shop that I run into and says, 'You know, the Academy should do this...' I take all that stuff seriously.\"\u003c/p>\n\u003cp>In speaking to NPR, Mason also emphasized that the Academy has begun two separate investigations into the allegations by Little and Dugan; Mason said the investigations would be independent and transparent. But he declined to give any timeline for that work, and said repeatedly that he did not know what firm or firms were leading those investigations, adding that they were \"people that we had no association with and no connection to.\"\u003c/p>\n\u003cp>According to Dugan's EEOC complaint, however, the investigators were selected by the law firm Proskauer Rose — a firm that charged the Academy over \u003ca href=\"https://www.grammy.com/sites/com/files/2017_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$900,000\u003c/a> in 2017 and over \u003ca href=\"https://www.grammy.com/sites/com/files/2016_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$870,000\u003c/a> in 2016, the most recent years for which financial information is available. (A partner at Proskauer Rose, \u003ca href=\"https://www.proskauer.com/professionals/charles-ortner\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Ortner\u003c/a>, serves as national legal counsel to the Academy, and is one of the most powerful lawyers in the entertainment industry; his client list has included Universal Music Group, Sony Music Entertainment, U2 and Madonna.)\u003c/p>\n\u003cp>On Thursday night, the Academy's Task Force on Diversity and Inclusion, (which is chaired by Tina Tchen, the president and CEO of Time's Up), issued its own statement. It reiterated its December recommendations, which Dugan had promised to implement almost in entirety.\u003c/p>\n\u003cp>Writing of its collective \"shock and dismay,\" the 18-member volunteer group urged the Grammy organization to implement several concrete steps in particular, including hiring a dedicated diversity executive \"to lead the deeper changes that are obviously needed.\" The statement continued, in part: \"We are deeply disappointed at the level of commitment by some of the Academy's leadership in effecting the kind of real and constructive change presented in our report. We are confident that they can do better.\"\u003c/p>\n\u003cp>Mason told NPR on Thursday that he was still very committed to diversity improvements at the Academy, noting that they had been part of his own campaign for chair. \"The plan is definitely to continue to push those through and make sure they all happen,\" he said.\u003c/p>\n\u003cp>But least one more member of the task force has spoken out even more forcefully as an individual. Ty Stiklorius, a prominent artist manager whose client roster includes singer John Legend and crossover violinist Lindsey Stirling, posted on Twitter Thursday: \"I won't stay quiet on this. As an Academy Inclusivity Task Force member I saw the inner workings & lack of transparency. The board voted down our recommendation of Ranked Choice Voting. They have not implemented our recommendations but used us \u003ca href=\"https://twitter.com/tystiklorius/status/1220431046258364419?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">as a pawn\u003c/a>.\"\u003c/p>\n\u003cp>https://twitter.com/tystiklorius/status/1220431046258364419?s=20\u003c/p>\n\u003cp>As of now, however, no artists slated to perform at the Grammys telecast Sunday night have pulled out. Billboard magazine's executive editor West Coast and Nashville, Melinda Newman, has a theory.\u003c/p>\n\u003cp>\"I honestly think this is so complex,\" she says. \"Once you've heard one thing and you think you might have enough information to make your mind up, something else drops and you're like, 'Wow, hang on a second.' I think we haven't seen the reaction yet because people are shocked.\"\u003c/p>\n\u003cp>As Sunday night approaches, Deborah Dugan said that her short tenure at the Recording Academy illustrates three things.\u003c/p>\n\u003cp>\"This has hit me about women CEOs and corporate America,\" she said. \"This has hit me on how hard it is for women in the music industry. And it's hit me, and I can't believe it, that three years after the #MeToo movement... we still have this system of character assassination — dig up dirt on this woman and trying to trash her in the press. I'm deeply saddened and profoundly upset that I was slapped with all three of those issues.\"\u003c/p>\n\u003cp>That is, all of the issues she was hired to address.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Winners of the 62nd Grammy Awards will be announced Sunday night — but there's a cloud hanging over the ceremony. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Winners of the 62nd Grammy Awards will be announced Sunday night — but there's a cloud hanging over the ceremony. Last week, Deborah Dugan, the recently installed president and CEO of the Recording Academy — which hands out the awards — was placed on administrative leave. Earlier this week, Dugan filed a discrimination \u003ca href=\"https://www.documentcloud.org/documents/6667812-Dugan-EEOC-Complaint.html\" target=\"_blank\" rel=\"noopener noreferrer\">complaint\u003c/a> with the Equal Employment Opportunity Commission that includes allegations of sexual misconduct and vote rigging.\u003c/p>\n\u003cp>The Recording Academy has been struggling for years with criticism that the Grammys were too male, too white, too old and too insular. In came Dugan five months ago, as the Academy's first female leader.\u003c/p>\n\u003cp>She pledged that the organization could do better, as she told NPR in an interview \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\" target=\"_blank\" rel=\"noopener noreferrer\">last month\u003c/a>: \"We've known as an industry for a long time that we have a monumental problem with gender issues.\"\u003c/p>\n\u003cp>Then, just over a week ago and only 10 days before the awards telecast, the Recording Academy \u003ca href=\"https://www.npr.org/2020/01/17/797208517/recording-academy-ceo-suspended-amid-allegations-of-misconduct\">abruptly announced\u003c/a> that it had placed Dugan on leave pending an investigation into an allegation of bullying that came from a female assistant. But in an interview Thursday, Dugan claimed she was placed on leave as retaliation for accusations she made, and changes she proposed.\u003c/p>\n\u003cp>Specifically, Dugan says her suspension is the result of a memo she sent in December to the Academy's Human Resources director, which included an accusation that she had been sexually harassed by the Academy's general counsel, \u003ca href=\"https://www.gtlaw.com/en/professionals/k/katz-joel-a\" target=\"_blank\" rel=\"noopener noreferrer\">Joel Katz\u003c/a>. (Katz is also a former Academy board chair.)\u003c/p>\n\u003cp>In her EEOC complaint, Dugan reiterated her accusations against Katz — and she said she learned that her predecessor, Neil Portnow, had been accused of raping a female artist. Both Katz and Portnow \u003ca href=\"https://www.npr.org/2020/01/21/798269611/ousted-female-chief-files-discrimination-complaint-against-the-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">deny the accusations\u003c/a>, and Portnow said in a statement that he was investigated and exonerated. In the complaint, Dugan also repeated and elaborated upon her accusations from the HR memo related to questionable financial expenditures, rigged Grammy voting and self-dealing at the public, non-profit organization.\u003c/p>\n\u003cp>In an interview with NPR on Thursday, Dugan reiterated her accusation against Katz as it is laid out in the EEOC complaint. She said that the incident occurred on May 18, 2019, before she had started officially working at the Academy in August. She had been invited to attend the first day of a three-day board session held at the Ritz Carlton hotel in Laguna Niguel, Calif. She says Katz (an extremely high-profile attorney who recently negotiated \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\" target=\"_blank\" rel=\"noopener noreferrer\">the sale\u003c/a> of Taylor Swift's former label home, Big Machine Label Group, to Scooter Braun's Ithaca Holdings Group) invited her to dine with him that evening.\u003c/p>\n\u003cp>\"Under the guise of a work dinner,\" she told NPR, \"I was propositioned by the general counsel — that is, Joel [Katz]. It started with calling me 'baby' and telling me how pretty I was. And then in the course of the dinner, after ordering a bottle of wine, I got a little more uncomfortable. He was talking about his private plane and trips that we could do and it ended with him leaning forward to kiss me. As I look back now, I think that there — the fact that they had me meet him and have dinner with him first — was sort of a test of how much I would acquiesce to.\"\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>In the moment, Dugan added, she had been \"disgusted and bewildered,\" and that she immediately went back to her hotel room and called \"quite a few people\" to tell them what had happened.\u003c/p>\n\u003cp>In a statement sent to NPR on Wednesday, Katz's lawyer, Howard Weitzman, said in part: \"Ms. Dugan's allegations of harassment and her description of a dinner at the steakhouse in the Ritz Carlton, Laguna Niguel are false, and Mr. Katz categorically and emphatically denies her version of that evening. .... Mr. Katz believed they had a productive and professional meeting in a restaurant where a number of members of the Board of Trustees of the Academy, and others, were dining. ... Mr. Katz will cooperate in any and all investigations or lawsuits by telling the absolute and whole truth. Hopefully Ms. Dugan will do the same.\"\u003c/p>\n\u003cp>\"You hear about these things in entertainment and certainly for women in leadership,\" said Dugan, who immediately prior to coming the Academy had led the charity (RED) after roles as president of Disney Publishing Worldwide and as an executive at EMI Records Group. \"But after so many years, and having such a track record of integrity and purpose, to have this happen — I was very disillusioned and to be honest, a little scared ... And there was a continuing pattern afterwards of whenever we had private conversations, he was calling me 'baby,' telling me how pretty I was.\"\u003c/p>\n\u003cp>Dugan and her lawyer, Douglas Wigdor, denied to NPR that she had bullied the Academy employee — a woman named Claudine Little, who had previously served as the executive assistant to Portnow. The Academy has said that Dugan \u003ca href=\"https://www.npr.org/2020/01/21/798269611/ousted-female-chief-files-discrimination-complaint-against-the-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">is accused\u003c/a> of creating a \"toxic and intolerable\" work environment and engaging in \"abusive and bullying conduct.\"\u003c/p>\n\u003cp>In a statement sent to NPR via the Recording Academy on Wednesday, Little said: \"Ms. Dugan's choice to litigate in the press and spread a false narrative about the Academy and me and my colleagues is regrettable, but it is also emblematic of Ms. Dugan's abusive and bullying conduct while she served as the Academy's president and CEO. I am proud of my career with the Academy—where, as a woman, I was able to work my way from secretary to director of administration in the executive suite, solely based on merit and while working for and with leaders far more demanding and hard-charging than Ms. Dugan. It is disappointing that Ms. Dugan hopes to leverage public opinion along gender lines and expects not to be scrutinized for her inexcusable behavior simply because she is a woman; she should be held to the same standard.\"\u003c/p>\n\u003cp>In the Thursday NPR interview, Dugan said that she had found Little's work lacking, and that she had suggested moving the assistant into another role at the Academy rather than terminate her employment. (The situation with Little is also described in the EEOC complaint.)\u003c/p>\n\u003cp>Wigdor added: \"Neil Portnow was accused of rape. Was he placed on administrative leave? No. So to place Deborah on an administrative leave over being bossy — and by the way, women are bossy, men are bosses — to put her on an administrative leave over something as innocuous and benign as being allegedly bossy to an administrative assistant just doesn't make any sense.\"\u003c/p>\n\u003cp>In the discrimination complaint, Dugan also repeated her allegations of irregularities and conflicts of interest in the Grammy voting process, as well as substantial payouts of fees to outside law firms and to individual board members.\u003c/p>\n\u003cp>These include payouts to Greenberg Traurig, where Joel Katz is an attorney. In \u003ca href=\"https://www.grammy.com/sites/com/files/2017_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2017\u003c/a>, according to the Academy's 990 forms, the firm was paid $6.3 million, as well as $1.75 million in \u003ca href=\"https://www.grammy.com/sites/com/files/2016_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2016\u003c/a> and over $1.1 million in \u003ca href=\"https://www.grammy.com/sites/com/files/2015_naras_form_990_public_discolusre_copy.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2015\u003c/a>, with similar amounts in the two previous years. According to the EEOC filing, the Academy also pays Katz personally $250,000 annually as a retainer.\u003c/p>\n\u003cp>Ms. Dugan's choice to litigate in the press and spread a false narrative about the Academy and me and my colleagues is regrettable, but it is also emblematic of Ms. Dugan's abusive and bullying conduct while she served as the Academy's president and CEO.\u003c/p>\n\u003cp>On Thursday, Dugan also said that the board and executive committee reacted negatively to some urgent recommendations from the Academy's Diversity and Inclusion Task Force, a group formed in the wake of widely denounced comments made by her predecessor, longtime Academy president and CEO Portnow. (After the 2018 Grammy Awards ceremony was criticized for a lack of female nominees and performers, Portnow said that women in the industry would just have to \"\u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">step up\u003c/a>\" to be recognized.)\u003c/p>\n\u003cp>\"There were some things I got pushback on like, 'Oh, we don't need a chief diversity officer,\" Dugan told NPR. She also described what she saw as conflicts of interest in the process of nominating artists for Grammys.\u003c/p>\n\u003cp>\"There is a degree of corruption in that system,\" she said. \"There is a problem when you have board members on those committees who have a vested interest in having certain artists winning.\"\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>She also reiterated in her EEOC complaint that the telecast's producer of 40 years, Ken Ehrlich, holds undue influence over the nominations for high-profile Grammy award categories, including Record of the Year and Album of the Year.\u003c/p>\n\u003cp>\"Do I think that this system of him making it clear who he'd like on the show to the board members who are then in the room voting is not a correct one going forward?\" she asked rhetorically. \"I do. I think it should be changed.\"\u003c/p>\n\u003cp>In an email sent to \u003ca href=\"https://www.nytimes.com/2020/01/23/arts/music/grammys-deborah-dugan.html\" target=\"_blank\" rel=\"noopener noreferrer\">The New York Times\u003c/a> on Thursday, Ehrlich said, \"There is no truth to what she alleges.\"\u003c/p>\n\u003cp>In a statement sent to NPR on Thursday afternoon, the chairman of the Recording Academy, Harvey Mason, Jr., and Bill Freimuth, the Academy's Chief Awards Officer, said in part: \"Spurious allegations claiming members or committees use our process to push forward nominations for artists they have relationships with are categorically false, misleading and wrong. ... Because these committee members are at the top of their craft, and many members work with multiple artists, it is not unusual that some of the people in each room will end up with nominations from the first round. There are strict rules in place to address any conflict of interest.\"\u003c/p>\n\u003cp>(Up until about a decade ago, I was a Grammy voter, and also served on the \"craft\" committee for the Best Album Notes field, one of a small group of Grammy categories outside the \"nomination review\" process and not voted on by the general membership. In addition, my husband, Joshua Sherman, was also a Grammy voter, and served on Academy committees; he was also part of teams that created several Grammy-winning recordings, and he produced several other Grammy-nominated albums. In my own experience, it is certainly true that in certain Grammy categories, especially in smaller genres or for fields involving particular professional expertise, there is a limited universe of accredited Grammy voters willing to volunteer their time to serve on award committees.)\u003c/p>\n\u003cp>Mason, a Grammy-nominated songwriter, record producer and music executive, just became the chair of the Recording Academy's board of trustees \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%E2%84%A2-announces-harvey-mason-jr-tammy-hurt-terry-hemmings-and-christine\" target=\"_blank\" rel=\"noopener noreferrer\">in June\u003c/a>. After Dugan was put on leave, he became its is acting CEO. In a Thursday interview with NPR, he would not answer any specific questions about the Dugan situation or the conflicting narratives, saying that the behind-the-scenes struggle detracted from the awards ceremony.\u003c/p>\n\u003cp>\"This is our biggest season for me,\" he said, \"and this night is everything to our organization. What we are doing is really focusing on the show and the musicians, and trying to make sure that the spotlight doesn't get taken away from that.\"\u003c/p>\n\u003cp>When asked if he took Dugan's allegations — including sexual misconduct, significant financial improprieties, and vote rigging — as grave matters, Mason said, \"Everything is taken seriously. Anything that somebody says, whether it's a guy at the coffee shop that I run into and says, 'You know, the Academy should do this...' I take all that stuff seriously.\"\u003c/p>\n\u003cp>In speaking to NPR, Mason also emphasized that the Academy has begun two separate investigations into the allegations by Little and Dugan; Mason said the investigations would be independent and transparent. But he declined to give any timeline for that work, and said repeatedly that he did not know what firm or firms were leading those investigations, adding that they were \"people that we had no association with and no connection to.\"\u003c/p>\n\u003cp>According to Dugan's EEOC complaint, however, the investigators were selected by the law firm Proskauer Rose — a firm that charged the Academy over \u003ca href=\"https://www.grammy.com/sites/com/files/2017_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$900,000\u003c/a> in 2017 and over \u003ca href=\"https://www.grammy.com/sites/com/files/2016_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$870,000\u003c/a> in 2016, the most recent years for which financial information is available. (A partner at Proskauer Rose, \u003ca href=\"https://www.proskauer.com/professionals/charles-ortner\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Ortner\u003c/a>, serves as national legal counsel to the Academy, and is one of the most powerful lawyers in the entertainment industry; his client list has included Universal Music Group, Sony Music Entertainment, U2 and Madonna.)\u003c/p>\n\u003cp>On Thursday night, the Academy's Task Force on Diversity and Inclusion, (which is chaired by Tina Tchen, the president and CEO of Time's Up), issued its own statement. It reiterated its December recommendations, which Dugan had promised to implement almost in entirety.\u003c/p>\n\u003cp>Writing of its collective \"shock and dismay,\" the 18-member volunteer group urged the Grammy organization to implement several concrete steps in particular, including hiring a dedicated diversity executive \"to lead the deeper changes that are obviously needed.\" The statement continued, in part: \"We are deeply disappointed at the level of commitment by some of the Academy's leadership in effecting the kind of real and constructive change presented in our report. We are confident that they can do better.\"\u003c/p>\n\u003cp>Mason told NPR on Thursday that he was still very committed to diversity improvements at the Academy, noting that they had been part of his own campaign for chair. \"The plan is definitely to continue to push those through and make sure they all happen,\" he said.\u003c/p>\n\u003cp>But least one more member of the task force has spoken out even more forcefully as an individual. Ty Stiklorius, a prominent artist manager whose client roster includes singer John Legend and crossover violinist Lindsey Stirling, posted on Twitter Thursday: \"I won't stay quiet on this. As an Academy Inclusivity Task Force member I saw the inner workings & lack of transparency. The board voted down our recommendation of Ranked Choice Voting. They have not implemented our recommendations but used us \u003ca href=\"https://twitter.com/tystiklorius/status/1220431046258364419?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">as a pawn\u003c/a>.\"\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>As of now, however, no artists slated to perform at the Grammys telecast Sunday night have pulled out. Billboard magazine's executive editor West Coast and Nashville, Melinda Newman, has a theory.\u003c/p>\n\u003cp>\"I honestly think this is so complex,\" she says. \"Once you've heard one thing and you think you might have enough information to make your mind up, something else drops and you're like, 'Wow, hang on a second.' I think we haven't seen the reaction yet because people are shocked.\"\u003c/p>\n\u003cp>As Sunday night approaches, Deborah Dugan said that her short tenure at the Recording Academy illustrates three things.\u003c/p>\n\u003cp>\"This has hit me about women CEOs and corporate America,\" she said. \"This has hit me on how hard it is for women in the music industry. And it's hit me, and I can't believe it, that three years after the #MeToo movement... we still have this system of character assassination — dig up dirt on this woman and trying to trash her in the press. I'm deeply saddened and profoundly upset that I was slapped with all three of those issues.\"\u003c/p>\n\u003cp>That is, all of the issues she was hired to address.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s at a time like Lunar New Year, or Tết, that you realize what a privilege it is to live in the San Francisco Bay Area, where a wide variety of cultural celebrations are available for all to partake in, no matter your level of familiarity or expertise.\u003c/p>\n\u003cp>Take San Jose, where the size of the Vietnamese-American community supports a host of restaurants, bakeries and grocery stores serving Vietnamese specialties that are both traditional and next-gen.\u003c/p>\n\u003cp>Love \u003ca href=\"https://www.kqed.org/bayareabites/106934/bay-area-bites-guide-to-5-favorite-dim-sum-restaurants-south-of-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">dumplings\u003c/a>? \u003ca href=\"https://www.kqed.org/bayareabites/93275/40-years-of-vietnamese-food-in-california-a-conversation-with-andrew-lam\" target=\"_blank\" rel=\"noopener noreferrer\">Noodles\u003c/a>? \u003ca href=\"https://www.kqed.org/bayareabites/79934/food-spirituality-a-visit-to-charles-phans-home-kitchen\" target=\"_blank\" rel=\"noopener noreferrer\">Rice cakes\u003c/a>? This is your time.\u003c/p>\n\u003cp>This is how I found myself in San Jose’s Little Saigon at \u003ca href=\"https://www.facebook.com/pages/category/Bakery/Dzuis-Cakes-Desserts-771574152953969/\" target=\"_blank\" rel=\"noopener noreferrer\">Dzui’s Cakes and Desserts\u003c/a>, which sells sweet and savory pastries to gobble up with tea on site.\u003c/p>\n\u003cp>“This is where you come to get all the goodies,” said Trami Cron, executive artistic director of \u003ca href=\"https://www.chopsticksalley.com\" target=\"_blank\" rel=\"noopener noreferrer\">Chopsticks Alley\u003c/a>, an organization supporting Southeast Asian artists with exhibits, classes and events in San Jose.\u003c/p>\n\u003cp>Cron agreed to meet me at the dessert shop to talk about Vietnamese goodies. She’s proud to be a rat, this year’s Chinese zodiac animal.\u003c/p>\n\u003cp>“It’s a good year for me,” Cron said. “I’m just saying.”\u003c/p>\n\u003cfigure id=\"attachment_11797950\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11797950 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut.jpg\" alt=\"Bánh pía resemble the Cantonese mooncake, but these feature flaky pastry and the fillings are different, too. The ones in this case at Dzui’s Cakes and Desserts in San Jose features fillings like mung bean paste, durian and pork.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bánh pía resemble the Cantonese mooncake, but these feature flaky pastry and the fillings are different, too. The ones in this case at Dzui’s Cakes and Desserts in San Jose features fillings like mung bean paste, durian and pork. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cron is aware many Americans turn up their noses at the very thought of a rat. Except for those kept as pets, the rat has a bad rap.\u003c/p>\n\u003cp>“It’s dirty, a sewer animal,” she said. “It eats yucky things.”\u003c/p>\n\u003cp>But in Vietnamese culture, and really, most East Asian and Southeast Asian cultures, “as soon as you say you’re a rat, everyone’s like ‘Oh! She’s intelligent, clever.’ Also, ‘better watch out for her,'” Cron said.\u003c/p>\n\u003cp>That’s because rats are thought to be social, charming, and just a little bit devious in their pursuit of material success.\u003c/p>\n\u003cp>Cron recently held a workshop to help young Vietnamese-Americans learn how to cook one of the most traditional treats of the season, a sticky rice cake wrapped in banana leaves called bánh chưng. Inside the glutinous rice, you’ll find mung bean and pork belly.\u003c/p>\n\u003cp>This goodie is eaten all year round. But it’s right about now families gather to make it at home. It’s a dish that usually involves a small army getting together in the kitchen to prepare and combine the ingredients, then hover over the pots in which piles of banh chưng are boiled. Small, hungry children typically watch with great interest, but the first banh chưng go to the family’s altar honoring ancestors.\u003c/p>\n\u003cp>Cron recommends using a pressure cooker to speed up the process (and make it more appealing to younger generations who don’t want to spend so much time in the kitchen).\u003c/p>\n\u003cp>“40 minutes, you’re done,” Cron said. “Cause it’s very intimidating.”\u003c/p>\n\u003cfigure id=\"attachment_11797951\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11797951\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut.jpg\" alt=\"Taro pastries at Dzui’s Cakes and Desserts in San Jose.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taro pastries at Dzui’s Cakes and Desserts in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at a bakery like Dzui’s, you’ll want to sample everything in the glass case. Take bánh pia. It’s about the size of a hockey puck, with a dense but flaky crust on the outside, finished with an egg wash glaze and a red stamp on top.\u003c/p>\n\u003cp>Given that it’s the Year of the Rat, many bakers will opt for a playful stamp of the animal on top. Pick one made fresh and filled with taro, mung bean or pork and you’ll go in for seconds. I did, at least.\u003c/p>\n\u003cp>If the traditional mung bean filling is not your thing, Dzui’s is where you can find other fillings to fit the bill, like durian and salted egg.\u003c/p>\n\u003cp>It also goes without saying that fresh is always tastier than pre-packaged.\u003c/p>\n\u003cp>“Next generation Vietnamese bakeries are combining a more modern look and feel — and the traditional homage to French sensibilities about sugar and flour,” says my KQED colleague Luke Lam, who independently recommended this bakery.\u003c/p>\n\u003cp>So what are you waiting for? Bring your appetite and a sense of adventure to Little Saigon this weekend.\u003c/p>\n\u003cp>Chúc Mừng Năm Mới! (Happy Lunar New Year!)\u003c/p>\n\u003cfigure id=\"attachment_11797966\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11797966\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut.jpg\" alt=\"Salted egg yolk buns at Dzui’s Cakes and Desserts in San Jose.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Salted egg yolk buns at Dzui’s Cakes and Desserts in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "Tasty Treats Await in the Year of the Rat | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s at a time like Lunar New Year, or Tết, that you realize what a privilege it is to live in the San Francisco Bay Area, where a wide variety of cultural celebrations are available for all to partake in, no matter your level of familiarity or expertise.\u003c/p>\n\u003cp>Take San Jose, where the size of the Vietnamese-American community supports a host of restaurants, bakeries and grocery stores serving Vietnamese specialties that are both traditional and next-gen.\u003c/p>\n\u003cp>Love \u003ca href=\"https://www.kqed.org/bayareabites/106934/bay-area-bites-guide-to-5-favorite-dim-sum-restaurants-south-of-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">dumplings\u003c/a>? \u003ca href=\"https://www.kqed.org/bayareabites/93275/40-years-of-vietnamese-food-in-california-a-conversation-with-andrew-lam\" target=\"_blank\" rel=\"noopener noreferrer\">Noodles\u003c/a>? \u003ca href=\"https://www.kqed.org/bayareabites/79934/food-spirituality-a-visit-to-charles-phans-home-kitchen\" target=\"_blank\" rel=\"noopener noreferrer\">Rice cakes\u003c/a>? This is your time.\u003c/p>\n\u003cp>This is how I found myself in San Jose’s Little Saigon at \u003ca href=\"https://www.facebook.com/pages/category/Bakery/Dzuis-Cakes-Desserts-771574152953969/\" target=\"_blank\" rel=\"noopener noreferrer\">Dzui’s Cakes and Desserts\u003c/a>, which sells sweet and savory pastries to gobble up with tea on site.\u003c/p>\n\u003cp>“This is where you come to get all the goodies,” said Trami Cron, executive artistic director of \u003ca href=\"https://www.chopsticksalley.com\" target=\"_blank\" rel=\"noopener noreferrer\">Chopsticks Alley\u003c/a>, an organization supporting Southeast Asian artists with exhibits, classes and events in San Jose.\u003c/p>\n\u003cp>Cron agreed to meet me at the dessert shop to talk about Vietnamese goodies. She’s proud to be a rat, this year’s Chinese zodiac animal.\u003c/p>\n\u003cp>“It’s a good year for me,” Cron said. “I’m just saying.”\u003c/p>\n\u003cfigure id=\"attachment_11797950\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11797950 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut.jpg\" alt=\"Bánh pía resemble the Cantonese mooncake, but these feature flaky pastry and the fillings are different, too. The ones in this case at Dzui’s Cakes and Desserts in San Jose features fillings like mung bean paste, durian and pork.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bánh pía resemble the Cantonese mooncake, but these feature flaky pastry and the fillings are different, too. The ones in this case at Dzui’s Cakes and Desserts in San Jose features fillings like mung bean paste, durian and pork. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cron is aware many Americans turn up their noses at the very thought of a rat. Except for those kept as pets, the rat has a bad rap.\u003c/p>\n\u003cp>“It’s dirty, a sewer animal,” she said. “It eats yucky things.”\u003c/p>\n\u003cp>But in Vietnamese culture, and really, most East Asian and Southeast Asian cultures, “as soon as you say you’re a rat, everyone’s like ‘Oh! She’s intelligent, clever.’ Also, ‘better watch out for her,'” Cron said.\u003c/p>\n\u003cp>That’s because rats are thought to be social, charming, and just a little bit devious in their pursuit of material success.\u003c/p>\n\u003cp>Cron recently held a workshop to help young Vietnamese-Americans learn how to cook one of the most traditional treats of the season, a sticky rice cake wrapped in banana leaves called bánh chưng. Inside the glutinous rice, you’ll find mung bean and pork belly.\u003c/p>\n\u003cp>This goodie is eaten all year round. But it’s right about now families gather to make it at home. It’s a dish that usually involves a small army getting together in the kitchen to prepare and combine the ingredients, then hover over the pots in which piles of banh chưng are boiled. Small, hungry children typically watch with great interest, but the first banh chưng go to the family’s altar honoring ancestors.\u003c/p>\n\u003cp>Cron recommends using a pressure cooker to speed up the process (and make it more appealing to younger generations who don’t want to spend so much time in the kitchen).\u003c/p>\n\u003cp>“40 minutes, you’re done,” Cron said. “Cause it’s very intimidating.”\u003c/p>\n\u003cfigure id=\"attachment_11797951\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11797951\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut.jpg\" alt=\"Taro pastries at Dzui’s Cakes and Desserts in San Jose.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taro pastries at Dzui’s Cakes and Desserts in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at a bakery like Dzui’s, you’ll want to sample everything in the glass case. Take bánh pia. It’s about the size of a hockey puck, with a dense but flaky crust on the outside, finished with an egg wash glaze and a red stamp on top.\u003c/p>\n\u003cp>Given that it’s the Year of the Rat, many bakers will opt for a playful stamp of the animal on top. Pick one made fresh and filled with taro, mung bean or pork and you’ll go in for seconds. I did, at least.\u003c/p>\n\u003cp>If the traditional mung bean filling is not your thing, Dzui’s is where you can find other fillings to fit the bill, like durian and salted egg.\u003c/p>\n\u003cp>It also goes without saying that fresh is always tastier than pre-packaged.\u003c/p>\n\u003cp>“Next generation Vietnamese bakeries are combining a more modern look and feel — and the traditional homage to French sensibilities about sugar and flour,” says my KQED colleague Luke Lam, who independently recommended this bakery.\u003c/p>\n\u003cp>So what are you waiting for? Bring your appetite and a sense of adventure to Little Saigon this weekend.\u003c/p>\n\u003cp>Chúc Mừng Năm Mới! (Happy Lunar New Year!)\u003c/p>\n\u003cfigure id=\"attachment_11797966\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11797966\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut.jpg\" alt=\"Salted egg yolk buns at Dzui’s Cakes and Desserts in San Jose.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Salted egg yolk buns at Dzui’s Cakes and Desserts in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On Sunday, San Francisco’s Clay Theatre will close its doors to moviegoers after more than a century in business. \u003c/p>\n\u003cp>The impending closure of this single-screen independent movie theater in Pacific Heights, known for its arthouse screenings and midnight movies, has been a cause for sorrow for many in the Bay Area — including filmmaker John Waters.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"John Waters\"]‘It was the coolest theater. It was the hippest art theater. I was really proud to show there.’[/pullquote]\u003c/p>\n\u003cp>One of the Clay’s claims to San Francisco cinema history was a midnight premiere of Waters’ “Pink Flamingos” in 1972.\u003c/p>\n\u003cp>It’s a milestone Waters remembers with pride — “the first commercial theater I ever played in at San Francisco that was part of an ‘above ground’ scene” — even if the popular legend that this was the city’s first-ever midnight movie screening isn’t quite accurate for him. \u003c/p>\n\u003cp>His earlier movies “Mondo Trasho” (1969) and “Multiple Maniacs” (1970) played at the now long-closed Palace Theatre at Powell and Columbus streets “all the time,” Waters recalled.\u003c/p>\n\u003cp>Waters, who has lived part time in San Francisco for years, spoke to KQED about his memories of the Clay, the joys and vices of midnight movies, and the San Francisco theaters he hopes stay in business.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>On What the Clay’s Closure Means to Him\u003c/h3>\n\u003cp>“It’s very sad to me because San Francisco is one of the first places outside of Baltimore where my films caught on … ‘Pink Flamingos’ started there, became quite successful there, and was really a help in my career. \u003c/p>\n\u003cp>“If you played at the Clay it gave your movie kind of a little honor of being a real \u003cem>art\u003c/em> movie, and being difficult, and causing trouble, and it was just a good club to belong to … it really mattered very much of climbing up from the underground to play there.\u003c/p>\n\u003cp>“I also lived very near the Clay Theatre during those years on California Street near Pierce. So it was my neighborhood theater, too. And they always had good cutting-edge movies there. I would say it was the coolest theater. It was the hippest art theater. So I was really proud to show there.”\u003c/p>\n\u003ch3>On the Movies He Watched at the Clay\u003c/h3>\n\u003cp>“I don’t remember, because this was in the ’70s. You know, as they say, if you remember the ’70s, you weren’t having fun … but I went there all the time.\u003c/p>\n\u003cp>“It played first-run art movies. It usually always played the movie I wanted to see first in San Francisco. So it was really lucky for me that I lived so near it.\u003c/p>\n\u003cp>“A real era for me is shutting down in San Francisco … all these theaters that I went to are no longer there.”\u003c/p>\n\u003cfigure id=\"attachment_11797913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/Clay-Theater-Exterior-800x533.jpg\" alt=\"The historic Clay Theatre, in San Francisco's Pacific Heights neighborhood, is slated to screen its final film on Sunday.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11797913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The historic Clay Theatre, in San Francisco’s Pacific Heights neighborhood, is slated to screen its final film on Sunday. \u003ccite>(Jeremy Brooks/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Decline of Independent Movie Houses\u003c/h3>\n\u003cp>“It’s not just San Francisco. It’s everywhere that independent film is having a tough time because of television, and because young people maybe don’t like art movies quite as much as our generation did.\u003c/p>\n\u003cp>“I think there’s always going to be a market for offbeat movies. I don’t care if you call them underground, midnight, independent — they’re all the same thing. They’re movies that regular people don’t like and we always need a showcase for them. And I think we’ll always find one.\u003c/p>\n\u003ch3>On Indie Theater Culture and Midnight Movies\u003c/h3>\n\u003cp>“This was before the Internet, this was before DVD, when that was the only way you could see a movie. You couldn’t rewind: You had to come and see it again the next weekend. So it was like church. And I mean, everybody smoked pot at this midnight movie, are you kidding? That was a huge part of it.\u003c/p>\n\u003cp>“And as soon as the VCR came out, the midnight movie kind of ended. People could smoke pot and have sex in a theater at home. I’m not saying people had sex in the theater at the Clay … but I bet they did.\u003c/p>\n\u003cp>“I think the last real movie that worked at midnight was ‘The Human Centipede’ — and yes, I did see that. But I don’t know that the midnight movie now is a phenomenon. What was then a midnight movie could easily play at a regular theatrical run today.”\u003c/p>\n\u003ch3>On Which Other Indie Theaters Need Support in SF\u003c/h3>\n\u003cp>“All of ’em! The \u003ca href=\"https://www.landmarktheatres.com/san-francisco/opera-plaza-cinema\">Opera Plaza\u003c/a>, that’s next. And the \u003ca href=\"https://www.roxie.com/\">Roxie\u003c/a>, of course, I’ve gone to for years — and the\u003ca href=\"https://www.castrotheatre.com/\"> Castro\u003c/a> [Theatre], are you kidding? I mean, my movies all played there.\u003c/p>\n\u003cp>“San Francisco’s always been a great movie town and it will continue to be so forever, I think.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "As San Francisco's storied Clay Theatre closes, filmmaker John Waters shares his stories of midnight movies at what was once his neighborhood movie theater.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the Clay’s claims to San Francisco cinema history was a midnight premiere of Waters’ “Pink Flamingos” in 1972.\u003c/p>\n\u003cp>It’s a milestone Waters remembers with pride — “the first commercial theater I ever played in at San Francisco that was part of an ‘above ground’ scene” — even if the popular legend that this was the city’s first-ever midnight movie screening isn’t quite accurate for him. \u003c/p>\n\u003cp>His earlier movies “Mondo Trasho” (1969) and “Multiple Maniacs” (1970) played at the now long-closed Palace Theatre at Powell and Columbus streets “all the time,” Waters recalled.\u003c/p>\n\u003cp>Waters, who has lived part time in San Francisco for years, spoke to KQED about his memories of the Clay, the joys and vices of midnight movies, and the San Francisco theaters he hopes stay in business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>On What the Clay’s Closure Means to Him\u003c/h3>\n\u003cp>“It’s very sad to me because San Francisco is one of the first places outside of Baltimore where my films caught on … ‘Pink Flamingos’ started there, became quite successful there, and was really a help in my career. \u003c/p>\n\u003cp>“If you played at the Clay it gave your movie kind of a little honor of being a real \u003cem>art\u003c/em> movie, and being difficult, and causing trouble, and it was just a good club to belong to … it really mattered very much of climbing up from the underground to play there.\u003c/p>\n\u003cp>“I also lived very near the Clay Theatre during those years on California Street near Pierce. So it was my neighborhood theater, too. And they always had good cutting-edge movies there. I would say it was the coolest theater. It was the hippest art theater. So I was really proud to show there.”\u003c/p>\n\u003ch3>On the Movies He Watched at the Clay\u003c/h3>\n\u003cp>“I don’t remember, because this was in the ’70s. You know, as they say, if you remember the ’70s, you weren’t having fun … but I went there all the time.\u003c/p>\n\u003cp>“It played first-run art movies. It usually always played the movie I wanted to see first in San Francisco. So it was really lucky for me that I lived so near it.\u003c/p>\n\u003cp>“A real era for me is shutting down in San Francisco … all these theaters that I went to are no longer there.”\u003c/p>\n\u003cfigure id=\"attachment_11797913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/Clay-Theater-Exterior-800x533.jpg\" alt=\"The historic Clay Theatre, in San Francisco's Pacific Heights neighborhood, is slated to screen its final film on Sunday.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11797913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The historic Clay Theatre, in San Francisco’s Pacific Heights neighborhood, is slated to screen its final film on Sunday. \u003ccite>(Jeremy Brooks/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Decline of Independent Movie Houses\u003c/h3>\n\u003cp>“It’s not just San Francisco. It’s everywhere that independent film is having a tough time because of television, and because young people maybe don’t like art movies quite as much as our generation did.\u003c/p>\n\u003cp>“I think there’s always going to be a market for offbeat movies. I don’t care if you call them underground, midnight, independent — they’re all the same thing. They’re movies that regular people don’t like and we always need a showcase for them. And I think we’ll always find one.\u003c/p>\n\u003ch3>On Indie Theater Culture and Midnight Movies\u003c/h3>\n\u003cp>“This was before the Internet, this was before DVD, when that was the only way you could see a movie. You couldn’t rewind: You had to come and see it again the next weekend. So it was like church. And I mean, everybody smoked pot at this midnight movie, are you kidding? That was a huge part of it.\u003c/p>\n\u003cp>“And as soon as the VCR came out, the midnight movie kind of ended. People could smoke pot and have sex in a theater at home. I’m not saying people had sex in the theater at the Clay … but I bet they did.\u003c/p>\n\u003cp>“I think the last real movie that worked at midnight was ‘The Human Centipede’ — and yes, I did see that. But I don’t know that the midnight movie now is a phenomenon. What was then a midnight movie could easily play at a regular theatrical run today.”\u003c/p>\n\u003ch3>On Which Other Indie Theaters Need Support in SF\u003c/h3>\n\u003cp>“All of ’em! The \u003ca href=\"https://www.landmarktheatres.com/san-francisco/opera-plaza-cinema\">Opera Plaza\u003c/a>, that’s next. And the \u003ca href=\"https://www.roxie.com/\">Roxie\u003c/a>, of course, I’ve gone to for years — and the\u003ca href=\"https://www.castrotheatre.com/\"> Castro\u003c/a> [Theatre], are you kidding? I mean, my movies all played there.\u003c/p>\n\u003cp>“San Francisco’s always been a great movie town and it will continue to be so forever, I think.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "dreaming-the-golden-state-with-the-california-report-magazine-part-one",
"title": "'Dreaming the Golden State' With the California Report Magazine (Part One)",
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"headTitle": "‘Dreaming the Golden State’ With the California Report Magazine (Part One) | KQED",
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"content": "\u003cp>California has long lured dreamers. People looking to reinvent themselves. To find a better future for their children. To have a home with a palm tree in the front yard.\u003c/p>\n\u003cp>But we know that dream is also increasingly out of reach for many people. And some are beginning to question whether the California dream is worth it, or whether it’s even still alive.\u003c/p>\n\u003cp>To that end, KQED’s The California Report Magazine in November hosted “Dreaming the Golden State,” a night of live storytelling about California dreams found … and lost. The event, at San Francisco’s Brava Theater, featured some of KQED’s own radio reporters, transferring their stories from the airwaves to the stage, along with five listeners who shared their own California dreams.\u003c/p>\n\u003cp>Here is part one of highlights from the event.\u003c/p>\n\u003ch2>How My Parents Found a Place to Love in LA\u003c/h2>\n\u003cfigure id=\"attachment_11796333\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796333 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The California Report Magazine’s host Sasha Khokha kicked off the evening with her own family’s California dream story. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To kickoff the evening, TCR Magazine host Sasha Khokha shared her family’s California dream by reciting a \u003ca href=\"https://www.kqed.org/news/11670400/letter-to-my-california-dreamer-how-my-parents-found-a-place-to-love-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> she wrote to her parents. A rebellious Irish Catholic girl and a skinny Indian engineer, the two met and fell in love at a time when interracial marriage was still illegal in some parts of the country.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Searching for New Beginnings on ‘Gold Mountain’\u003c/h2>\n\u003cfigure id=\"attachment_11796178\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796178 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Eng, of Oakland, performed her ‘Letter to my California Dreamer’ to her great great great grandparents. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In our ‘\u003ca href=\"https://www.kqed.org/news/tag/letters-to-my-california-dreamer\" target=\"_blank\" rel=\"noopener noreferrer\">Letter to My California Dreamer\u003c/a>‘ series, we asked listeners to send us compositions written to the first people in their families who arrived in California. One of the first submissions we received was from Tiffany Eng of Oakland. On stage, she recited the \u003ca href=\"https://www.kqed.org/news/11684010/letter-to-my-california-dreamer-searching-for-new-beginnings-on-gold-mountain\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> she wrote to her great-great-great-grandparents, who settled in Oakland’s Chinatown in 1906. Six generations later, Eng said, her family’s roots in Oakland have grown deep.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>‘Pet Sounds’ at 50: What Ever Happened to Those Goats?\u003c/h2>\n\u003cfigure id=\"attachment_11796216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796216 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles-based reporter Peter Gilstrap had a musical take on the California dream with a story about The Beach Boys’ album, ‘Pet Sounds.’ \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1960s, The Beach Boys, to many people, perfectly represented California. On every album cover, they sold the idealized version of life on the beach in sunny Southern California. But that changed in 1966, when The Beach Boys released \u003ca href=\"https://open.spotify.com/album/6GphKx2QAPRoVGWE9D7ou8\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Sounds\u003c/a>, with an album cover that featured the very unbeachy image of the band feeding goats. The album was a collection of 13 groundbreaking songs that redefined pop music. In the decades since, critics and fans have scrutinized and analyzed every single aspect of the album, including the mysterious cover. One of our favorite reporters from Los Angeles, Peter Gilstrap, helped unearth the story behind the album.\u003c/p>\n\u003ch2>Letter to My California Dreamer: A Mother’s Brave Journey to Citizenship\u003c/h2>\n\u003cfigure id=\"attachment_11796368\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796368 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Listener Javier Cervantes shares his ‘Letter to My California Dreamer’ about his mother, who crossed the Mexico-United States border illegally in search of a better life. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Defying expectations to marry a farmer and have children, Maria Mojarro Cervantes fled Zacatecas in Central Mexico to find a better life in San Francisco. Listener Javier Cervantes of San Jose wrote a \u003ca href=\"https://www.kqed.org/news/11676288/letter-to-my-california-dreamer-a-mothers-brave-journey-to-citizenship\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> to Maria, his mother, about her brave journey to becoming a U.S. citizen.\u003c/p>\n\u003ch2>On Teaching for Nearly Five Decades at a West Oakland High School\u003c/h2>\n\u003cfigure id=\"attachment_11796223\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796223 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left: KQED education reporter Vanessa Rancaño, Dr. LuPaulette Taylor and Sasha Khokha discuss what keeps Taylor motivated after 50 years on the job. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many, a big part of the California dream has been the promise of a good public K-12 education — and two world-class public university systems. At a time when so many teachers are leaving the profession, KQED education reporter Vanessa Rancaño introduced us to Dr. LuPaulette Taylor, who recently began her 50th year on her feet teaching at McClymonds High School in West Oakland, a school that has long struggled with teacher retention.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California has long lured dreamers. People looking to reinvent themselves. To find a better future for their children. To have a home with a palm tree in the front yard.\u003c/p>\n\u003cp>But we know that dream is also increasingly out of reach for many people. And some are beginning to question whether the California dream is worth it, or whether it’s even still alive.\u003c/p>\n\u003cp>To that end, KQED’s The California Report Magazine in November hosted “Dreaming the Golden State,” a night of live storytelling about California dreams found … and lost. The event, at San Francisco’s Brava Theater, featured some of KQED’s own radio reporters, transferring their stories from the airwaves to the stage, along with five listeners who shared their own California dreams.\u003c/p>\n\u003cp>Here is part one of highlights from the event.\u003c/p>\n\u003ch2>How My Parents Found a Place to Love in LA\u003c/h2>\n\u003cfigure id=\"attachment_11796333\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796333 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The California Report Magazine’s host Sasha Khokha kicked off the evening with her own family’s California dream story. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To kickoff the evening, TCR Magazine host Sasha Khokha shared her family’s California dream by reciting a \u003ca href=\"https://www.kqed.org/news/11670400/letter-to-my-california-dreamer-how-my-parents-found-a-place-to-love-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> she wrote to her parents. A rebellious Irish Catholic girl and a skinny Indian engineer, the two met and fell in love at a time when interracial marriage was still illegal in some parts of the country.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Searching for New Beginnings on ‘Gold Mountain’\u003c/h2>\n\u003cfigure id=\"attachment_11796178\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796178 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Eng, of Oakland, performed her ‘Letter to my California Dreamer’ to her great great great grandparents. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In our ‘\u003ca href=\"https://www.kqed.org/news/tag/letters-to-my-california-dreamer\" target=\"_blank\" rel=\"noopener noreferrer\">Letter to My California Dreamer\u003c/a>‘ series, we asked listeners to send us compositions written to the first people in their families who arrived in California. One of the first submissions we received was from Tiffany Eng of Oakland. On stage, she recited the \u003ca href=\"https://www.kqed.org/news/11684010/letter-to-my-california-dreamer-searching-for-new-beginnings-on-gold-mountain\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> she wrote to her great-great-great-grandparents, who settled in Oakland’s Chinatown in 1906. Six generations later, Eng said, her family’s roots in Oakland have grown deep.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘Pet Sounds’ at 50: What Ever Happened to Those Goats?\u003c/h2>\n\u003cfigure id=\"attachment_11796216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796216 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles-based reporter Peter Gilstrap had a musical take on the California dream with a story about The Beach Boys’ album, ‘Pet Sounds.’ \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1960s, The Beach Boys, to many people, perfectly represented California. On every album cover, they sold the idealized version of life on the beach in sunny Southern California. But that changed in 1966, when The Beach Boys released \u003ca href=\"https://open.spotify.com/album/6GphKx2QAPRoVGWE9D7ou8\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Sounds\u003c/a>, with an album cover that featured the very unbeachy image of the band feeding goats. The album was a collection of 13 groundbreaking songs that redefined pop music. In the decades since, critics and fans have scrutinized and analyzed every single aspect of the album, including the mysterious cover. One of our favorite reporters from Los Angeles, Peter Gilstrap, helped unearth the story behind the album.\u003c/p>\n\u003ch2>Letter to My California Dreamer: A Mother’s Brave Journey to Citizenship\u003c/h2>\n\u003cfigure id=\"attachment_11796368\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796368 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Listener Javier Cervantes shares his ‘Letter to My California Dreamer’ about his mother, who crossed the Mexico-United States border illegally in search of a better life. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Defying expectations to marry a farmer and have children, Maria Mojarro Cervantes fled Zacatecas in Central Mexico to find a better life in San Francisco. Listener Javier Cervantes of San Jose wrote a \u003ca href=\"https://www.kqed.org/news/11676288/letter-to-my-california-dreamer-a-mothers-brave-journey-to-citizenship\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> to Maria, his mother, about her brave journey to becoming a U.S. citizen.\u003c/p>\n\u003ch2>On Teaching for Nearly Five Decades at a West Oakland High School\u003c/h2>\n\u003cfigure id=\"attachment_11796223\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796223 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left: KQED education reporter Vanessa Rancaño, Dr. LuPaulette Taylor and Sasha Khokha discuss what keeps Taylor motivated after 50 years on the job. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many, a big part of the California dream has been the promise of a good public K-12 education — and two world-class public university systems. At a time when so many teachers are leaving the profession, KQED education reporter Vanessa Rancaño introduced us to Dr. LuPaulette Taylor, who recently began her 50th year on her feet teaching at McClymonds High School in West Oakland, a school that has long struggled with teacher retention.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
"meta": {
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"rss": "https://feeds.megaphone.fm/KQINC6993880386",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
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{
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},
"authModal": {
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"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
