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"title": "From Schwarzenegger to Trump, Beach Blanket Babylon Has Stayed on Top of Headlines for Nearly Half a Century",
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"content": "\u003cp>Many people will remember “\u003ca href=\"https://www.beachblanketbabylon.com\" target=\"_blank\" rel=\"noopener noreferrer\">Beach Blanket Babylon\u003c/a>,” the iconic San Francisco cabaret that’s closing after a 45-year run, for its peppy theme song, kitsch sense of humor and big, fantastical hats.\u003c/p>\n\u003cp>But the show’s quick-witted reaction to the political zeitgeist has also left an indelible mark on audiences.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation=\"Jo Schuman Silver, Beach Blanket Babylon producer\"]‘I just never wanted the show to get old or not be fabulous and popular and on top.”[/pullquote]\u003c/p>\n\u003cp>Producer Jo Schuman Silver says President Trump has provided the show’s writers with a constant supply of material.\u003c/p>\n\u003cp>“I mean, it’s like all Trump all the time,” Schuman Silver said.\u003c/p>\n\u003cp>In the wake of the 2016 election, the “Beach Blanket Babylon” team fashioned a skit based on “The Sound of Music,” starring the Von Trump Family in place of the Von Trapps.\u003c/p>\n\u003cp>As Melania Trump strums a guitar, the president and his children sing a skewed version of one of the musical’s most beloved numbers, “Do-Re-Mi”:\u003c/p>\n\u003cp>\u003cem>Dough: like cash, we got a lot \u003c/em>\u003cbr>\n\u003cem>Ray: a drop of golden sun (Like daddy’s hair?) \u003c/em>\u003cbr>\n\u003cem>Me: it’s all about myself\u003c/em>\u003cbr>\n\u003cem>Far: a long, long way we’ve come \u003c/em>\u003cbr>\n\u003cem>So: there’s nothing more to say\u003c/em>\u003cbr>\n\u003cem>Laws: he’ll change them everyday. \u003c/em>\u003cbr>\n\u003cem>T: for Trumps, we’re here to stay. \u003c/em>\u003cbr>\n\u003cem>That will bring us tons of dough, dough, dough, dough.\u003c/em>\u003c/p>\n\u003cp>More recently, Schuman Silver tweaked the show’s script to include lines about the Trump impeachment inquiry.\u003c/p>\n\u003cp>The campy “Beach Blanket Babylon” debuted in 1974, and is now the nation’s longest continuously running musical revue. Its \u003ca href=\"https://www.npr.org/2019/12/22/790553940/long-running-san-francisco-musical-revue-beach-blanket-babylon-nears-end\" target=\"_blank\" rel=\"noopener noreferrer\">final performance\u003c/a> is set for New Year’s Eve.\u003c/p>\n\u003cp>“It’s going to be so bittersweet,” said Curt Branom, one of its longtime performers. “We’re all moving on to other things, but we all know [what] a magical moment, really, in time that this place has been for all of us.”\u003c/p>\n\u003cp>Take its ongoing response to news from the White House.\u003cbr>\nSchuman Silver took over producing “Beach Blanket” from her husband after he died of complications from AIDS in 1995. She says the revue is closing for creative rather than financial reasons.\u003c/p>\n\u003cp>“My late husband Steve Silver, whose show it is, said to me, you’re going to know when it’s the right time for the show to be done,” she said. “I just never wanted the show to get old or not be fabulous and popular and on top.”\u003c/p>\n\u003cp>Soon after she announced it was curtains earlier this year, the show sold out the rest of its run. \u003c/p>\n\u003cp>The show spoofs politics and pop culture and features performers in colorful costumes and massive hats, including one featuring San Francisco’s entire skyline. It was originally scheduled to run for only six weeks, but word spread, and it quickly became a quintessential San Francisco experience.\u003c/p>\n\u003cp>“Beach Blanket Babylon” has since been performed more than 17,000 times in front of 6.5 million people, including Queen Elizabeth II, Prince Charles, David Bowie and Robin Williams.\u003c/p>\n\u003cfigure id=\"attachment_11780436\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11780436 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39499_Anita-Hill-qut-1020x1436.jpg\" alt=\"Renee Lubin (left) and Art Hervey (right) as Anita Hill and Clarence Thomas in Beach Blanket Babylon, 1991.\" width=\"640\" height=\"901\" data-wp-editing=\"1\">\u003cfigcaption class=\"wp-caption-text\">Renee Lubin (left) and Art Hervey (right) as Anita Hill and Clarence Thomas in Beach Blanket Babylon, 1991. \u003ccite>(Courtesy of David Allen, Beach Blanket Babylon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production tries to maintain a politically agnostic stance. There have been skits over the years making fun of Barack Obama and Bill Clinton.\u003c/p>\n\u003cp>And regardless of who or what they are spoofing, the cast members seem to relish the opportunity to respond to the news.\u003c/p>\n\u003cp>Renee Lubin, “Beach Blanket’s” longest-serving cast member, who’s been with the show for nearly 34 years, has a particularly fond memory of portraying Anita Hill.\u003c/p>\n\u003cp>“I got to drag Clarence Thomas all around the stage singing ‘Respect.’ That was a blast,” Lubin said about jumping into the role when news broke in 1991 about Hill’s sexual harassment allegations against the Supreme Court justice.\u003c/p>\n\u003cp>Actor Ben Jones appeared in “Beach Blanket” around the time of the 2008 presidential elections.\u003c/p>\n\u003cp>He played George W. Bush. Carrying a small suitcase on his way out of the White House, his character sang a doctored version of “One Day More,” a famous number from the musical “Les Miserables.”\u003c/p>\n\u003cp>[aside label=\"related coverage\" tag=\"beach-blanket-babylon\"]\u003cem>A few days more, and very soon I will be history \u003c/em>\u003cbr>\n\u003cem>And now they’re starting to throw shoes at me\u003c/em>\u003cbr>\n\u003cem>America: please hear my call\u003c/em>\u003cbr>\n\u003cem>Cheney made me do it all.\u003c/em>\u003c/p>\n\u003cp>Jones said it’s not unusual show up at rehearsal to find the script for that evening’s performance in a state of flux. Cast members might be learning new lines right up to the moment they make their entrance through the sliding doors center stage.\u003c/p>\n\u003cp>“Sometimes there would be a new line taped to the back of the doors,” Jones said. “So you’d be standing there and literally reading something and memorizing it, and then the doors would open.”\u003c/p>\n\u003cp>Jones said between the hectic costume changes (most of the performers have at least 10 different outfits) and constantly changing script, it was sometimes hard to stay on top of things.\u003c/p>\n\u003cp>“There were times when you would go on stage with a wig half on,” Jones said. “There might have been times when I went on stage without a wig on; without shoes on, certainly.”\u003c/p>\n\u003cp>But the payoff of responding to the headlines almost as fast as they happen is often worth the moments of chaos.\u003c/p>\n\u003cp>Schuman Silver, a self-described “news junkie,” happened to be watching “The Tonight Show” when Arnold Schwarzenegger announced his plans to run for California governor in August 2003.\u003c/p>\n\u003cp>Her mind immediately went back to a 1991 “Beach Blanket” skit based on Schwarzenegger’s “Terminator” movie franchise.\u003c/p>\n\u003cp>She sent one of her stage managers to search “Beach Blanket’s” cavernous warehouse.\u003c/p>\n\u003cp>“I just said, ‘Please go to the warehouse and get the Arnold breastplate. Get the leather jacket and get the big pants,’ ” Schuman Silver said.\u003c/p>\n\u003cfigure id=\"attachment_11780437\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11780437 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39498_Arnold-Schwarzenegger-qut-1020x1550.jpg\" alt=\"Doug Magpiong as Arnold Schwarzenegger in a 2003 performance of Beach Blanket\" width=\"640\" height=\"973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39498_Arnold-Schwarzenegger-qut-1020x1550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39498_Arnold-Schwarzenegger-qut-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39498_Arnold-Schwarzenegger-qut-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39498_Arnold-Schwarzenegger-qut-789x1200.jpg 789w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39498_Arnold-Schwarzenegger-qut.jpg 1692w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Doug Magpiong as Arnold Schwarzenegger in a 2003 performance of Beach Blanket. \u003ccite>(Courtesy of Rick Markovich, Beach Blanket Babylon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schuman Silver said they had the story up on stage the very next day — as fast as it was carried by many pre-Internet era news outlets.\u003c/p>\n\u003cp>It took the form of a riff on Jerry Lee Lewis’ rock classic, “Great Balls of Fire”:\u003c/p>\n\u003cp>\u003cem>They work my nerves and they rattle my brain \u003c/em>\u003cbr>\n\u003cem>Those Democrats drive me insane\u003c/em>\u003cbr>\n\u003cem>One thing is for sure, now I’m the governor\u003c/em>\u003cbr>\n\u003cem>Goodness Gracious Arnold’s on fire.\u003c/em>\u003c/p>\n\u003cp>Schuman Silver said public figures like Schwarzenegger and Trump always make a comeback in “Beach Blanket” sooner or later. The production’s desire to respond quickly to the news throughout its entire 45-year history explains the the enormous size of the company’s props and costumes warehouse.\u003c/p>\n\u003cp>“We never throw anything out,” she added.\u003c/p>\n\u003cp>\u003cem>Additional reporting from the AP’s Haven Daley\u003c/em>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Producer Jo Schuman Silver says President Trump has provided the show’s writers with a constant supply of material.\u003c/p>\n\u003cp>“I mean, it’s like all Trump all the time,” Schuman Silver said.\u003c/p>\n\u003cp>In the wake of the 2016 election, the “Beach Blanket Babylon” team fashioned a skit based on “The Sound of Music,” starring the Von Trump Family in place of the Von Trapps.\u003c/p>\n\u003cp>As Melania Trump strums a guitar, the president and his children sing a skewed version of one of the musical’s most beloved numbers, “Do-Re-Mi”:\u003c/p>\n\u003cp>\u003cem>Dough: like cash, we got a lot \u003c/em>\u003cbr>\n\u003cem>Ray: a drop of golden sun (Like daddy’s hair?) \u003c/em>\u003cbr>\n\u003cem>Me: it’s all about myself\u003c/em>\u003cbr>\n\u003cem>Far: a long, long way we’ve come \u003c/em>\u003cbr>\n\u003cem>So: there’s nothing more to say\u003c/em>\u003cbr>\n\u003cem>Laws: he’ll change them everyday. \u003c/em>\u003cbr>\n\u003cem>T: for Trumps, we’re here to stay. \u003c/em>\u003cbr>\n\u003cem>That will bring us tons of dough, dough, dough, dough.\u003c/em>\u003c/p>\n\u003cp>More recently, Schuman Silver tweaked the show’s script to include lines about the Trump impeachment inquiry.\u003c/p>\n\u003cp>The campy “Beach Blanket Babylon” debuted in 1974, and is now the nation’s longest continuously running musical revue. Its \u003ca href=\"https://www.npr.org/2019/12/22/790553940/long-running-san-francisco-musical-revue-beach-blanket-babylon-nears-end\" target=\"_blank\" rel=\"noopener noreferrer\">final performance\u003c/a> is set for New Year’s Eve.\u003c/p>\n\u003cp>“It’s going to be so bittersweet,” said Curt Branom, one of its longtime performers. “We’re all moving on to other things, but we all know [what] a magical moment, really, in time that this place has been for all of us.”\u003c/p>\n\u003cp>Take its ongoing response to news from the White House.\u003cbr>\nSchuman Silver took over producing “Beach Blanket” from her husband after he died of complications from AIDS in 1995. She says the revue is closing for creative rather than financial reasons.\u003c/p>\n\u003cp>“My late husband Steve Silver, whose show it is, said to me, you’re going to know when it’s the right time for the show to be done,” she said. “I just never wanted the show to get old or not be fabulous and popular and on top.”\u003c/p>\n\u003cp>Soon after she announced it was curtains earlier this year, the show sold out the rest of its run. \u003c/p>\n\u003cp>The show spoofs politics and pop culture and features performers in colorful costumes and massive hats, including one featuring San Francisco’s entire skyline. It was originally scheduled to run for only six weeks, but word spread, and it quickly became a quintessential San Francisco experience.\u003c/p>\n\u003cp>“Beach Blanket Babylon” has since been performed more than 17,000 times in front of 6.5 million people, including Queen Elizabeth II, Prince Charles, David Bowie and Robin Williams.\u003c/p>\n\u003cfigure id=\"attachment_11780436\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11780436 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39499_Anita-Hill-qut-1020x1436.jpg\" alt=\"Renee Lubin (left) and Art Hervey (right) as Anita Hill and Clarence Thomas in Beach Blanket Babylon, 1991.\" width=\"640\" height=\"901\" data-wp-editing=\"1\">\u003cfigcaption class=\"wp-caption-text\">Renee Lubin (left) and Art Hervey (right) as Anita Hill and Clarence Thomas in Beach Blanket Babylon, 1991. \u003ccite>(Courtesy of David Allen, Beach Blanket Babylon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production tries to maintain a politically agnostic stance. There have been skits over the years making fun of Barack Obama and Bill Clinton.\u003c/p>\n\u003cp>And regardless of who or what they are spoofing, the cast members seem to relish the opportunity to respond to the news.\u003c/p>\n\u003cp>Renee Lubin, “Beach Blanket’s” longest-serving cast member, who’s been with the show for nearly 34 years, has a particularly fond memory of portraying Anita Hill.\u003c/p>\n\u003cp>“I got to drag Clarence Thomas all around the stage singing ‘Respect.’ That was a blast,” Lubin said about jumping into the role when news broke in 1991 about Hill’s sexual harassment allegations against the Supreme Court justice.\u003c/p>\n\u003cp>Actor Ben Jones appeared in “Beach Blanket” around the time of the 2008 presidential elections.\u003c/p>\n\u003cp>He played George W. Bush. Carrying a small suitcase on his way out of the White House, his character sang a doctored version of “One Day More,” a famous number from the musical “Les Miserables.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>A few days more, and very soon I will be history \u003c/em>\u003cbr>\n\u003cem>And now they’re starting to throw shoes at me\u003c/em>\u003cbr>\n\u003cem>America: please hear my call\u003c/em>\u003cbr>\n\u003cem>Cheney made me do it all.\u003c/em>\u003c/p>\n\u003cp>Jones said it’s not unusual show up at rehearsal to find the script for that evening’s performance in a state of flux. Cast members might be learning new lines right up to the moment they make their entrance through the sliding doors center stage.\u003c/p>\n\u003cp>“Sometimes there would be a new line taped to the back of the doors,” Jones said. “So you’d be standing there and literally reading something and memorizing it, and then the doors would open.”\u003c/p>\n\u003cp>Jones said between the hectic costume changes (most of the performers have at least 10 different outfits) and constantly changing script, it was sometimes hard to stay on top of things.\u003c/p>\n\u003cp>“There were times when you would go on stage with a wig half on,” Jones said. “There might have been times when I went on stage without a wig on; without shoes on, certainly.”\u003c/p>\n\u003cp>But the payoff of responding to the headlines almost as fast as they happen is often worth the moments of chaos.\u003c/p>\n\u003cp>Schuman Silver, a self-described “news junkie,” happened to be watching “The Tonight Show” when Arnold Schwarzenegger announced his plans to run for California governor in August 2003.\u003c/p>\n\u003cp>Her mind immediately went back to a 1991 “Beach Blanket” skit based on Schwarzenegger’s “Terminator” movie franchise.\u003c/p>\n\u003cp>She sent one of her stage managers to search “Beach Blanket’s” cavernous warehouse.\u003c/p>\n\u003cp>“I just said, ‘Please go to the warehouse and get the Arnold breastplate. Get the leather jacket and get the big pants,’ ” Schuman Silver said.\u003c/p>\n\u003cfigure id=\"attachment_11780437\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11780437 size-large\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39498_Arnold-Schwarzenegger-qut-1020x1550.jpg\" alt=\"Doug Magpiong as Arnold Schwarzenegger in a 2003 performance of Beach Blanket\" width=\"640\" height=\"973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39498_Arnold-Schwarzenegger-qut-1020x1550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39498_Arnold-Schwarzenegger-qut-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39498_Arnold-Schwarzenegger-qut-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39498_Arnold-Schwarzenegger-qut-789x1200.jpg 789w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39498_Arnold-Schwarzenegger-qut.jpg 1692w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Doug Magpiong as Arnold Schwarzenegger in a 2003 performance of Beach Blanket. \u003ccite>(Courtesy of Rick Markovich, Beach Blanket Babylon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schuman Silver said they had the story up on stage the very next day — as fast as it was carried by many pre-Internet era news outlets.\u003c/p>\n\u003cp>It took the form of a riff on Jerry Lee Lewis’ rock classic, “Great Balls of Fire”:\u003c/p>\n\u003cp>\u003cem>They work my nerves and they rattle my brain \u003c/em>\u003cbr>\n\u003cem>Those Democrats drive me insane\u003c/em>\u003cbr>\n\u003cem>One thing is for sure, now I’m the governor\u003c/em>\u003cbr>\n\u003cem>Goodness Gracious Arnold’s on fire.\u003c/em>\u003c/p>\n\u003cp>Schuman Silver said public figures like Schwarzenegger and Trump always make a comeback in “Beach Blanket” sooner or later. The production’s desire to respond quickly to the news throughout its entire 45-year history explains the the enormous size of the company’s props and costumes warehouse.\u003c/p>\n\u003cp>“We never throw anything out,” she added.\u003c/p>\n\u003cp>\u003cem>Additional reporting from the AP’s Haven Daley\u003c/em>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cp>When you think of America’s longest-running musicals, Broadway favorites such as “The Lion King” or “Chicago” may come to mind.\u003c/p>\n\u003cp>But there’s a small San Francisco show that’s been a must-see for tourists and locals alike for more than 45 years — and now the curtain is closing.\u003c/p>\n\u003cp>[aside tag='theatre' label='More Coverage.']\u003c/p>\n\u003cp>The campy “Beach Blanket Babylon” debuted in 1974, making it the nation’s longest continuously running musical revue. Its final performance is set for New Year’s Eve.\u003c/p>\n\u003cp>“It’s going to be so bittersweet,” said Curt Branom, one of its longtime performers. “We’re all moving on to other things, but we all know that a magical moment, really, in time that this place has been for all of us.”\u003c/p>\n\u003cp>The show spoofs politics and pop culture and features performers in colorful costumes and massive hats, including one featuring San Francisco’s entire skyline. It was originally scheduled to run for only six weeks, but word spread, and it quickly became a quintessential San Francisco experience.\u003c/p>\n\u003cp>“Beach Blanket Babylon” has since been performed more than 17,000 times in front of 6.5 million people, including Queen Elizabeth II, Prince Charles, David Bowie and Robin Williams. \u003c/p>\n\u003cp>The plot follows Snow White around the world as she searches for her Prince Charming. Along the way, she encounters an ever-changing lineup of political and pop culture figures. Recent characters have included Donald and Melania Trump, Nancy Pelosi, Vladimir Putin, Bernie Sanders and Oprah Winfrey.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Longtime \"Beach Blanket Babylon\" performer Curt Branom']‘We’re all moving on to other things, but we all know that a magical moment, really, in time that this place has been for all of us.’[/pullquote]\u003c/p>\n\u003cp>Producer Jo Schuman Silver said the show is ending not for financial reasons but because she wanted it to go out on a high note and felt the time was right. \u003c/p>\n\u003cp>Cast and crew, most of whom have worked with “Beach Blanket Babylon” for decades, say the remaining performances are bound to be emotional.\u003c/p>\n\u003cp>Stage Manager John Camajani, who joined the musical in 1979, says his wife will be at the final show.\u003c/p>\n\u003cp>“She’ll be crying, and all of us will be crying because it’s the end of an era,” he said.\u003c/p>\n\u003cp>It’s believed that “Phantom of the Opera,” which premiered in 1988 and has continuously run on Broadway since, will now become the longest-running musical still being performed in the U.S.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>Family separations at the border. Anxiety and trauma in young people. Wildfires and power outages. The ever-present fear of the Big One.\u003c/p>\n\u003cp>Every year, we take a look at what you’ve been most interested in reading on KQED — and 2019’s list might initially strike you as a sobering one. Yet amid these serious topics, you also found time to read about personal health and wellness, why artists are underpaid and the very best places to find the ultimate dumpling.\u003c/p>\n\u003cp>\u003cem>Our most-read stories on KQED this year:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/mindshift/52994/how-to-help-teenage-girls-reframe-anxiety-and-strengthen-resilience\">How to Help Teenage Girls Reframe Anxiety and Strengthen Resilience\u003c/a>\u003c/strong>\u003cbr>\nKQED’s Mindshift blog (now also a \u003ca href=\"https://www.kqed.org/podcasts/mindshift\">podcast\u003c/a>) is consistently one of our most-visited, popular with educators and parents alike for its perspectives on the future of learning. This story from February — the most-read on our site in 2019 — explores how some degree of stress and anxiety is not only normal but essential for human growth, and how we can particularly help adolescent girls through life’s tough times.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/news/11724799/family-separations-flourish-in-homeland-security-grey-area-despite-ban\">Family Separations Continue in Homeland Security ‘Gray Area’ Despite Ban\u003c/a>\u003c/strong>\u003cbr>\nFamily separation at the border was a major concern for KQED readers this year. This story from February reported how hundreds of migrant children have been separated from their parents — even after a federal judge ordered the Trump administration to stop the practice in June 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/news/11722223/toddler-separated-from-family-at-border-is-returned-in-san-francisco\">Toddler Separated From Family at Border Reunited with Mom in San Francisco\u003c/a>\u003c/strong>\u003cbr>\nGiving a personal insight into how family separation impacts individual families, this affecting story detailed the Bay Area reunion between 23-year-old Sindy Ortiz Flores and her 18-month-old daughter, after the child was taken from her father near Calexico by U.S. Border Patrol agents.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11791863\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/girl-thru-glass-1180x664.jpg\" alt=\"\" width=\"1180\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/girl-thru-glass-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/girl-thru-glass-1180x664-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/girl-thru-glass-1180x664-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/girl-thru-glass-1180x664-1020x574.jpg 1020w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/mindshift/52881/why-mindfulness-and-trauma-informed-teaching-dont-always-go-together\">Why Mindfulness And Trauma-Informed Teaching Don’t Always Go Together\u003c/a>\u003c/strong>\u003cbr>\nMindfulness is a fast-growing trend and teachers are turning to the practice as a simple way to restore calm to the classroom — but that might not be as simple as it seems. This story explores how some of the ways mindfulness is practiced — sitting still, eyes closed, in silence — can also be triggers for students who have experienced trauma.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/science/1949669/map-of-potential-power-shutoffs-in-northern-california-by-pge\">Map: Current PG&E Power Outages\u003c/a>\u003c/strong>\u003cbr>\nIn October, the beleaguered utility began its historic shutoff program in an effort to prevent destructive fires, affecting millions of California residents — and \u003ca href=\"https://www.kqed.org/news/11781060/pge-power-safety-shutoffs-could-continue-for-10-years-says-ceo\">PG&E says that’s just the start\u003c/a>. No wonder so many of you were interested in this map showing which areas would be affected.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/science/1949911/map-of-the-kincade-fire-in-sonoma-county\">Map of Kincade Fire in Sonoma County\u003c/a>\u003c/strong>\u003cbr>\nThe Kincade Fire, which ignited outside Geyserville in October, destroyed many structures but thankfully took zero lives. Our map showed readers the fire perimeter, evacuation zones, road closures, emergency shelters and more, alongside \u003ca href=\"https://www.kqed.org/news/11782314/what-you-need-to-know-sonoma-countys-kincade-fire\">a regularly updated list of fire resources from KQED News\u003c/a>.\u003c/p>\n\u003cp>\u003cem>A look at some other stories that were hugely popular on KQED this year:\u003c/em>\u003c/p>\n\u003ch3>The science stories you read most\u003c/h3>\n\u003cfigure id=\"attachment_11791865\" class=\"wp-caption alignnone\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11791865\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/05-1020x574.jpg\" alt=\"\" width=\"1020\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/05-1020x574-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/05-1020x574-800x450.jpg 800w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Scientists say the Hayward Fault is due for another major earthquake. \u003ccite>(Teodros Hailye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/science/1930023/map-heres-your-daily-air-quality-report-for-the-bay-area\">Map: Here’s Your Current Air Quality Report for the Bay Area\u003c/a>\u003c/strong>\u003cbr>\nWith wildfires becoming California’s “new normal,” the potentially dangerous impact on air quality was clearly a priority for many of you in fire-adjacent areas. Our resources on \u003ca href=\"https://www.kqed.org/science/1926793/protecting-your-health-from-toxic-wildfire-smoke\">how to protect yourself from smoke\u003c/a> were also viewed and shared many times.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/science/1936949/do-little-quakes-mean-the-big-one-is-close-at-hand\">Do Little Earthquakes Mean the Big One Is Close at Hand?\u003c/a>\u003c/strong>\u003cbr>\nThis year brought us several disconcerting shakes, with each one making us think about the terrifying possibilities of a bigger earthquake hitting the Bay Area. It’s unsurprising, therefore, that so many of you wanted this question answered.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/science/1949019/its-about-time-how-to-get-ready-for-the-next-emergency\">Prepping for the Next Big Quake, One Hour a Day\u003c/a>\u003c/strong>\u003cbr>\nMore quake concerns: This time, you turned to KQED Science’s comprehensive guide to prepping your family and your home for a potential major emergency. From evacuation planning to earthquake kits and home improvement, there’s never a bad time to read this guide. Seriously.\u003c/p>\n\u003ch3>The arts and culture cuts you loved\u003c/h3>\n\u003cfigure id=\"attachment_11792018\" class=\"wp-caption alignnone\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11792018\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/keak.png\" alt=\"\" width=\"801\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/keak.png 801w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/keak-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/keak-800x508.png 800w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">In our interview, rapper Keak Da Sneak worried that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\">Keak Da Sneak Heads to Prison; ‘No Compassion’ for Disabilities, He Says\u003c/a>\u003c/strong>\u003cbr>\nLongtime Bay Area hip-hop fixture Keak Da Sneak was left disabled by a 2017 shooting that placed him in critical condition. In this interview he detailed his concern about the medical care he would receive during his upcoming prison sentence for firearm possession. After KQED broke the story, the rapper’s sentence was delayed: A decision his manager attributed in part to the coverage this story led to.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/arts/13857471/artist-passion-exploitation-duke-study\">Why Do Employers Lowball Creatives? A New Study Has Answers\u003c/a>\u003cbr>\n\u003c/strong>Artists being asked to work for “exposure” is a long-running complaint in the creative industry — but what if their passion for their craft was actually being used as a justification for their exploitation? We \u003ca href=\"https://www.kqed.org/arts/13853392/working-for-exposure-audience-survey\">heard from many of you\u003c/a> who read this and shared your experiences, too.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/arts/13865555/thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did\">Thirty Seconds to Mars’ Jared Leto Started a Cult—Because of Course He Did\u003c/a>\u003c/strong>\u003cbr>\nOne of the frankly weirder stories on our site in 2019, this deep dive into actor and musician Jared Leto’s band Thirty Seconds to Mars and their increasingly cultish activities surrounding their fan communities continues to be one of our most-read articles. When, it wonders, does fan devotion begin to resemble something more disconcerting?\u003c/p>\n\u003ch3>The food stories you ate up\u003c/h3>\n\u003cfigure id=\"attachment_11791868\" class=\"wp-caption alignnone\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11791868\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/iStock-860957840-1020x625.jpg\" alt=\"\" width=\"1020\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/iStock-860957840-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/iStock-860957840-1020x625-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/iStock-860957840-1020x625-800x490.jpg 800w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">What are the best dumplings around the Bay Area? Our list investigated. \u003ccite>(Min Jing/iStock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/bayareabites/134814/a-guide-to-the-bay-areas-favorite-dumplings\">Are These the Best Dumpling Spots in the Bay Area?\u003c/a>\u003c/strong>\u003cbr>\nKQED’s \u003ca href=\"https://www.kqed.org/bayareabites/category/guides-2\">food guides\u003c/a> are some of the most popular pages on our website, and this list of top-notch dumpling restaurants around the Bay Area was no exception. But…did we include your favorite?\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/bayareabites/130967/5-bay-area-coffee-shops-you-should-visit-before-they-disappear\">5 Bay Area Coffee Shops You Should Visit Before They Disappear \u003c/a>\u003c/strong>\u003cbr>\nA high turnover of beloved cafes, restaurants and bars is one of the Bay Area’s more sobering economic realities, making it no surprise this guide — which celebrates old-fashioned diners — struck a chord with you all.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/bayareabites/135303/eat-drink-like-youre-in-the-1920s-two-nights-a-week\">Eat & Drink Like You’re in the 1920s, Two Nights a Week\u003c/a>\u003c/strong>\u003cbr>\nSince we’re headed into the 20s (again), it’s perhaps fitting how many of you wanted to read about this 1920s-style spot in San Jose, which boasts an invisible ragtime orchestra and an authentic soda fountain.\u003c/p>\n\u003ch3>The most popular Forum interviews\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11791869\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/Capture.png\" alt=\"\" width=\"804\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/Capture.png 804w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/Capture-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/Capture-800x464.png 800w\" sizes=\"(max-width: 804px) 100vw, 804px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/forum/2010101869165/ucsfs-dean-ornish-on-how-to-undo-chronic-diseases\">UCSF’s Dean Ornish on How to ‘Undo’ Chronic Diseases\u003c/a>\u003c/strong>\u003cbr>\nAlthough interviews with experts are the backbone of our morning call-in show, health and wellness was a clear theme in 2019 — as evidenced by your interest in this interview with the founder of UCSF’s Preventive Medicine Research Institute.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/forum/2010101869290/mary-pipher-celebrates-power-of-older-women-in-women-who-row-north\">Mary Pipher Celebrates Power of Older Women in ‘Women Who Row North’\u003c/a>\u003c/strong>\u003cbr>\nBest-known for her 1994 bestseller “Reviving Ophelia,” examining the societal pressures on adolescent girls, this interview with author Mary Pipher explores how women contend with aging in a society that often values them less as they get older.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/forum/2010101873734/a-doctors-quest-to-heal-her-mysterious-chronic-illness\">A Doctor’s Quest to Heal Her Mysterious, Chronic Illness\u003c/a>\u003c/strong>\u003cbr>\nCynthia Li was a successful doctor in her 30s when an autoimmune disease torpedoed her health, with mysterious symptoms that baffled her doctors. She joined us to explain her long journey to understanding her condition and rethinking the way medicine is practiced.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Family separations at the border. Anxiety and trauma in young people. Wildfires and power outages. The ever-present fear of the Big One.\u003c/p>\n\u003cp>Every year, we take a look at what you’ve been most interested in reading on KQED — and 2019’s list might initially strike you as a sobering one. Yet amid these serious topics, you also found time to read about personal health and wellness, why artists are underpaid and the very best places to find the ultimate dumpling.\u003c/p>\n\u003cp>\u003cem>Our most-read stories on KQED this year:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/mindshift/52994/how-to-help-teenage-girls-reframe-anxiety-and-strengthen-resilience\">How to Help Teenage Girls Reframe Anxiety and Strengthen Resilience\u003c/a>\u003c/strong>\u003cbr>\nKQED’s Mindshift blog (now also a \u003ca href=\"https://www.kqed.org/podcasts/mindshift\">podcast\u003c/a>) is consistently one of our most-visited, popular with educators and parents alike for its perspectives on the future of learning. This story from February — the most-read on our site in 2019 — explores how some degree of stress and anxiety is not only normal but essential for human growth, and how we can particularly help adolescent girls through life’s tough times.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/news/11724799/family-separations-flourish-in-homeland-security-grey-area-despite-ban\">Family Separations Continue in Homeland Security ‘Gray Area’ Despite Ban\u003c/a>\u003c/strong>\u003cbr>\nFamily separation at the border was a major concern for KQED readers this year. This story from February reported how hundreds of migrant children have been separated from their parents — even after a federal judge ordered the Trump administration to stop the practice in June 2018.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/news/11722223/toddler-separated-from-family-at-border-is-returned-in-san-francisco\">Toddler Separated From Family at Border Reunited with Mom in San Francisco\u003c/a>\u003c/strong>\u003cbr>\nGiving a personal insight into how family separation impacts individual families, this affecting story detailed the Bay Area reunion between 23-year-old Sindy Ortiz Flores and her 18-month-old daughter, after the child was taken from her father near Calexico by U.S. Border Patrol agents.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11791863\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/girl-thru-glass-1180x664.jpg\" alt=\"\" width=\"1180\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/girl-thru-glass-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/girl-thru-glass-1180x664-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/girl-thru-glass-1180x664-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/girl-thru-glass-1180x664-1020x574.jpg 1020w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/mindshift/52881/why-mindfulness-and-trauma-informed-teaching-dont-always-go-together\">Why Mindfulness And Trauma-Informed Teaching Don’t Always Go Together\u003c/a>\u003c/strong>\u003cbr>\nMindfulness is a fast-growing trend and teachers are turning to the practice as a simple way to restore calm to the classroom — but that might not be as simple as it seems. This story explores how some of the ways mindfulness is practiced — sitting still, eyes closed, in silence — can also be triggers for students who have experienced trauma.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/science/1949669/map-of-potential-power-shutoffs-in-northern-california-by-pge\">Map: Current PG&E Power Outages\u003c/a>\u003c/strong>\u003cbr>\nIn October, the beleaguered utility began its historic shutoff program in an effort to prevent destructive fires, affecting millions of California residents — and \u003ca href=\"https://www.kqed.org/news/11781060/pge-power-safety-shutoffs-could-continue-for-10-years-says-ceo\">PG&E says that’s just the start\u003c/a>. No wonder so many of you were interested in this map showing which areas would be affected.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/science/1949911/map-of-the-kincade-fire-in-sonoma-county\">Map of Kincade Fire in Sonoma County\u003c/a>\u003c/strong>\u003cbr>\nThe Kincade Fire, which ignited outside Geyserville in October, destroyed many structures but thankfully took zero lives. Our map showed readers the fire perimeter, evacuation zones, road closures, emergency shelters and more, alongside \u003ca href=\"https://www.kqed.org/news/11782314/what-you-need-to-know-sonoma-countys-kincade-fire\">a regularly updated list of fire resources from KQED News\u003c/a>.\u003c/p>\n\u003cp>\u003cem>A look at some other stories that were hugely popular on KQED this year:\u003c/em>\u003c/p>\n\u003ch3>The science stories you read most\u003c/h3>\n\u003cfigure id=\"attachment_11791865\" class=\"wp-caption alignnone\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11791865\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/05-1020x574.jpg\" alt=\"\" width=\"1020\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/05-1020x574-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/05-1020x574-800x450.jpg 800w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Scientists say the Hayward Fault is due for another major earthquake. \u003ccite>(Teodros Hailye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/science/1930023/map-heres-your-daily-air-quality-report-for-the-bay-area\">Map: Here’s Your Current Air Quality Report for the Bay Area\u003c/a>\u003c/strong>\u003cbr>\nWith wildfires becoming California’s “new normal,” the potentially dangerous impact on air quality was clearly a priority for many of you in fire-adjacent areas. Our resources on \u003ca href=\"https://www.kqed.org/science/1926793/protecting-your-health-from-toxic-wildfire-smoke\">how to protect yourself from smoke\u003c/a> were also viewed and shared many times.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/science/1936949/do-little-quakes-mean-the-big-one-is-close-at-hand\">Do Little Earthquakes Mean the Big One Is Close at Hand?\u003c/a>\u003c/strong>\u003cbr>\nThis year brought us several disconcerting shakes, with each one making us think about the terrifying possibilities of a bigger earthquake hitting the Bay Area. It’s unsurprising, therefore, that so many of you wanted this question answered.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/science/1949019/its-about-time-how-to-get-ready-for-the-next-emergency\">Prepping for the Next Big Quake, One Hour a Day\u003c/a>\u003c/strong>\u003cbr>\nMore quake concerns: This time, you turned to KQED Science’s comprehensive guide to prepping your family and your home for a potential major emergency. From evacuation planning to earthquake kits and home improvement, there’s never a bad time to read this guide. Seriously.\u003c/p>\n\u003ch3>The arts and culture cuts you loved\u003c/h3>\n\u003cfigure id=\"attachment_11792018\" class=\"wp-caption alignnone\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11792018\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/keak.png\" alt=\"\" width=\"801\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/keak.png 801w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/keak-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/keak-800x508.png 800w\" sizes=\"(max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">In our interview, rapper Keak Da Sneak worried that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\">Keak Da Sneak Heads to Prison; ‘No Compassion’ for Disabilities, He Says\u003c/a>\u003c/strong>\u003cbr>\nLongtime Bay Area hip-hop fixture Keak Da Sneak was left disabled by a 2017 shooting that placed him in critical condition. In this interview he detailed his concern about the medical care he would receive during his upcoming prison sentence for firearm possession. After KQED broke the story, the rapper’s sentence was delayed: A decision his manager attributed in part to the coverage this story led to.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/arts/13857471/artist-passion-exploitation-duke-study\">Why Do Employers Lowball Creatives? A New Study Has Answers\u003c/a>\u003cbr>\n\u003c/strong>Artists being asked to work for “exposure” is a long-running complaint in the creative industry — but what if their passion for their craft was actually being used as a justification for their exploitation? We \u003ca href=\"https://www.kqed.org/arts/13853392/working-for-exposure-audience-survey\">heard from many of you\u003c/a> who read this and shared your experiences, too.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/arts/13865555/thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did\">Thirty Seconds to Mars’ Jared Leto Started a Cult—Because of Course He Did\u003c/a>\u003c/strong>\u003cbr>\nOne of the frankly weirder stories on our site in 2019, this deep dive into actor and musician Jared Leto’s band Thirty Seconds to Mars and their increasingly cultish activities surrounding their fan communities continues to be one of our most-read articles. When, it wonders, does fan devotion begin to resemble something more disconcerting?\u003c/p>\n\u003ch3>The food stories you ate up\u003c/h3>\n\u003cfigure id=\"attachment_11791868\" class=\"wp-caption alignnone\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11791868\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/iStock-860957840-1020x625.jpg\" alt=\"\" width=\"1020\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/iStock-860957840-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/iStock-860957840-1020x625-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/iStock-860957840-1020x625-800x490.jpg 800w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">What are the best dumplings around the Bay Area? Our list investigated. \u003ccite>(Min Jing/iStock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/bayareabites/134814/a-guide-to-the-bay-areas-favorite-dumplings\">Are These the Best Dumpling Spots in the Bay Area?\u003c/a>\u003c/strong>\u003cbr>\nKQED’s \u003ca href=\"https://www.kqed.org/bayareabites/category/guides-2\">food guides\u003c/a> are some of the most popular pages on our website, and this list of top-notch dumpling restaurants around the Bay Area was no exception. But…did we include your favorite?\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/bayareabites/130967/5-bay-area-coffee-shops-you-should-visit-before-they-disappear\">5 Bay Area Coffee Shops You Should Visit Before They Disappear \u003c/a>\u003c/strong>\u003cbr>\nA high turnover of beloved cafes, restaurants and bars is one of the Bay Area’s more sobering economic realities, making it no surprise this guide — which celebrates old-fashioned diners — struck a chord with you all.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/bayareabites/135303/eat-drink-like-youre-in-the-1920s-two-nights-a-week\">Eat & Drink Like You’re in the 1920s, Two Nights a Week\u003c/a>\u003c/strong>\u003cbr>\nSince we’re headed into the 20s (again), it’s perhaps fitting how many of you wanted to read about this 1920s-style spot in San Jose, which boasts an invisible ragtime orchestra and an authentic soda fountain.\u003c/p>\n\u003ch3>The most popular Forum interviews\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11791869\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/Capture.png\" alt=\"\" width=\"804\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/Capture.png 804w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/Capture-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/Capture-800x464.png 800w\" sizes=\"(max-width: 804px) 100vw, 804px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/forum/2010101869165/ucsfs-dean-ornish-on-how-to-undo-chronic-diseases\">UCSF’s Dean Ornish on How to ‘Undo’ Chronic Diseases\u003c/a>\u003c/strong>\u003cbr>\nAlthough interviews with experts are the backbone of our morning call-in show, health and wellness was a clear theme in 2019 — as evidenced by your interest in this interview with the founder of UCSF’s Preventive Medicine Research Institute.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/forum/2010101869290/mary-pipher-celebrates-power-of-older-women-in-women-who-row-north\">Mary Pipher Celebrates Power of Older Women in ‘Women Who Row North’\u003c/a>\u003c/strong>\u003cbr>\nBest-known for her 1994 bestseller “Reviving Ophelia,” examining the societal pressures on adolescent girls, this interview with author Mary Pipher explores how women contend with aging in a society that often values them less as they get older.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/forum/2010101873734/a-doctors-quest-to-heal-her-mysterious-chronic-illness\">A Doctor’s Quest to Heal Her Mysterious, Chronic Illness\u003c/a>\u003c/strong>\u003cbr>\nCynthia Li was a successful doctor in her 30s when an autoimmune disease torpedoed her health, with mysterious symptoms that baffled her doctors. She joined us to explain her long journey to understanding her condition and rethinking the way medicine is practiced.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The judge overseeing PG&E's bankruptcy case has ruled that litigation against the utility for its alleged role in Oakland's 2016 Ghost Ship fire can go forward.\u003c/p>\n\u003cp>In a ruling Tuesday, U.S. Bankruptcy Judge Dennis Montali said he wanted families of the 36 people who died in the blaze \"to have their day in court.\"\u003c/p>\n\u003cp>The ruling, made over PG&E's opposition, means the company could face a pretrial hearing later this week.\u003c/p>\n\u003cp>[aside label=\"Related Coverage\" tag=\"ghost-ship\"]\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/news/11461422/relatives-of-ghost-ship-fire-victims-add-pge-to-consolidated-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">wrongful death lawsuit\u003c/a>, in which the company is named with the city of Oakland, the owners and proprietors of the Ghost Ship warehouse and others, is scheduled to go to trial in Alameda County Superior Court next May.\u003c/p>\n\u003cp>All litigation against PG&E was stayed when the company filed for Chapter 11 bankruptcy protection last January, including the Ghost Ship case and numerous lawsuits the utility faces for its role in starting a series of catastrophic wildfires in 2017 and 2018.\u003c/p>\n\u003cp>Attorneys for the Ghost Ship plaintiffs, who have alleged that PG&E's negligence contributed to the fire, have argued that their case against the company should be allowed to proceed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>PG&E's lawyers have told Montali that any liability it faced for the Ghost Ship fire could be addressed as part of the bankruptcy proceeding. The company's \u003ca href=\"https://www.kqed.org/news/11790175/pge-announces-13-5-billion-deal-to-resolve-wildfire-claims\" target=\"_blank\" rel=\"noopener noreferrer\">proposed $13.5 billion settlement\u003c/a> with fire victims and others, announced on Dec. 7 and rejected by Gov. Gavin Newsom last Friday, included a provision to pay the Ghost Ship plaintiffs.\u003c/p>\n\u003cp>Montali is scheduled to rule later Tuesday on whether he'll accept the company's settlement package.\u003c/p>\n\u003cp>Newsom has informed the company that the agreement falls short of what newly adopted state legislation requires in the way of financial and operational stability.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The judge overseeing PG&E's bankruptcy case has ruled that litigation against the utility for its alleged role in Oakland's 2016 Ghost Ship fire can go forward.\u003c/p>\n\u003cp>In a ruling Tuesday, U.S. Bankruptcy Judge Dennis Montali said he wanted families of the 36 people who died in the blaze \"to have their day in court.\"\u003c/p>\n\u003cp>The ruling, made over PG&E's opposition, means the company could face a pretrial hearing later this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/news/11461422/relatives-of-ghost-ship-fire-victims-add-pge-to-consolidated-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">wrongful death lawsuit\u003c/a>, in which the company is named with the city of Oakland, the owners and proprietors of the Ghost Ship warehouse and others, is scheduled to go to trial in Alameda County Superior Court next May.\u003c/p>\n\u003cp>All litigation against PG&E was stayed when the company filed for Chapter 11 bankruptcy protection last January, including the Ghost Ship case and numerous lawsuits the utility faces for its role in starting a series of catastrophic wildfires in 2017 and 2018.\u003c/p>\n\u003cp>Attorneys for the Ghost Ship plaintiffs, who have alleged that PG&E's negligence contributed to the fire, have argued that their case against the company should be allowed to proceed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>PG&E's lawyers have told Montali that any liability it faced for the Ghost Ship fire could be addressed as part of the bankruptcy proceeding. The company's \u003ca href=\"https://www.kqed.org/news/11790175/pge-announces-13-5-billion-deal-to-resolve-wildfire-claims\" target=\"_blank\" rel=\"noopener noreferrer\">proposed $13.5 billion settlement\u003c/a> with fire victims and others, announced on Dec. 7 and rejected by Gov. Gavin Newsom last Friday, included a provision to pay the Ghost Ship plaintiffs.\u003c/p>\n\u003cp>Montali is scheduled to rule later Tuesday on whether he'll accept the company's settlement package.\u003c/p>\n\u003cp>Newsom has informed the company that the agreement falls short of what newly adopted state legislation requires in the way of financial and operational stability.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Welcome to a Fantasy World of... Cardboard?",
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"headTitle": "The California Report Magazine | KQED News",
"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Imagine a room with retro relics like a vintage video camera, a manual typewriter and an old bottle of Moonshine. Now imagine that the room—and everything in it—is entirely made of cardboard.\u003c/p>\n\u003cp>This is a Los Angeles-based installation called “\u003ca href=\"http://www.dosshaus.com/installation\">The Artist’s Room\u003c/a>,” where sound is layered over a cartoonish fantasy world created from old cardboard boxes. It includes the plinking of an upright piano and the strumming of an acoustic guitar. There’s even an old-fashioned pay phone in a cardboard phone booth and an antique radio that gets tuned to different languages using cardboard pliers.\u003c/p>\n\u003cp>https://vimeo.com/202325636\u003c/p>\n\u003cp>This is the work of an art collective called \u003ca href=\"http://www.dosshaus.com/\">Dosshaus\u003c/a>, founded by L.A.-based artist David Connelly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Everybody knows what it’s like to be a kid and have that big cardboard box,\" says Connelly. \"Either a refrigerator box or a TV box, and it can become anything. It’s a castle. It’s a rocket ship. It’s a race car. It’s a fort.\"\u003c/p>\n\u003cp>At his studio in Ventura, Connelly uses cardboard to create cartoon-like worlds, breathing new life into an object people typically throw away.\u003c/p>\n\u003cp>People donate recycled cardboard boxes to the artists. Connelly then strips off the labels and tape, whips out his box cutter and hacksaw, and transforms the cardboard into everyday items, which he paints using shades of black and white.\u003c/p>\n\u003cfigure id=\"attachment_11791003\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11791003 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40436_odP65Gsg-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40436_odP65Gsg-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40436_odP65Gsg-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40436_odP65Gsg-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40436_odP65Gsg-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40436_odP65Gsg-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Connelly creates everyday items out of recycled cardboard, like typewriters, grand pianos, matchsticks and decks of cards. \u003ccite>(Courtesy of Dosshaus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I just like working with cardboard. I like the way it works. I like the way it fights you. It doesn’t necessarily want to be anything but a box,\" explains Connelly. \"But if you can work with it and you can work within its limitations, it will allow you to let it become something completely different.\"\u003c/p>\n\u003cp>Collaborating with artist Zoey Taylor, Connelly made lots of objects like this for a life-size installation called \"\u003ca href=\"http://www.dosshaus.com/paper-thin-hotel\">The Paper Thin Hotel\u003c/a>\" in L.A. last year. Every detail was made using cardboard, paper, tape and glue—from ashtrays to light fixtures to the clothes the artists wore while moving around inside the installation. The end result feels like walking into a two-dimensional, black and white world.\u003c/p>\n\u003cp>\"I like the idea of subverting people’s sense of reality,\" says Connelly. \"Every single piece I make is all about shifting your perspective, even if it’s just for a moment.\"\u003c/p>\n\u003cp>https://vimeo.com/266785405\u003c/p>\n\u003cp>Conelley's latest work can be seen at a new show at L.A.'s \u003ca href=\"http://coreyhelfordgallery.com\">Corey Helford Gallery\u003c/a>. His pieces explores the theme of explosions, with creative explorations bursting out from the wall.\u003c/p>\n\u003cfigure id=\"attachment_11791113\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11791113\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40454_Dosshaus_Pop-qut-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40454_Dosshaus_Pop-qut-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40454_Dosshaus_Pop-qut-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40454_Dosshaus_Pop-qut.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New work from Dosshaus explores the theme of explosions. \"People think of explosions are inherently destructive,\" says David Connelly. \"But they can also be a creative force.\" \u003ccite>(Courtesy of Dosshaus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Dosshaus also has pieces in a show called \"Dress Rehearsal\" at the \u003ca href=\"https://oma-online.org/dress/\">Oceanside Museum of Art\u003c/a> through Jan. 19, 2020. It includes examples of wearable paper clothing, as well as sculptures arranged as an installation to create the feeling that the viewer is backstage at a theater performance.\u003c/p>\n\u003cfigure id=\"attachment_11791114\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11791114\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40455_Dosshaus_Paper-Thin-Homage_Bowie-Yamamoto-qut-800x1080.jpg\" alt=\"\" width=\"800\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40455_Dosshaus_Paper-Thin-Homage_Bowie-Yamamoto-qut-800x1080.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40455_Dosshaus_Paper-Thin-Homage_Bowie-Yamamoto-qut-160x216.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40455_Dosshaus_Paper-Thin-Homage_Bowie-Yamamoto-qut-1020x1377.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40455_Dosshaus_Paper-Thin-Homage_Bowie-Yamamoto-qut-889x1200.jpg 889w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40455_Dosshaus_Paper-Thin-Homage_Bowie-Yamamoto-qut.jpg 1111w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A piece of wearable paper art from the \"Paper Thin Hotel\" series is an homage to David Bowie. \u003ccite>(Courtesy of Dosshaus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
"disqusIdentifier": "11790795 https://ww2.kqed.org/news/?p=11790795",
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"excerpt": "David Connelly makes entire art pieces entirely of cardboard to challenge people's perceptions of reality.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Imagine a room with retro relics like a vintage video camera, a manual typewriter and an old bottle of Moonshine. Now imagine that the room—and everything in it—is entirely made of cardboard.\u003c/p>\n\u003cp>This is a Los Angeles-based installation called “\u003ca href=\"http://www.dosshaus.com/installation\">The Artist’s Room\u003c/a>,” where sound is layered over a cartoonish fantasy world created from old cardboard boxes. It includes the plinking of an upright piano and the strumming of an acoustic guitar. There’s even an old-fashioned pay phone in a cardboard phone booth and an antique radio that gets tuned to different languages using cardboard pliers.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the work of an art collective called \u003ca href=\"http://www.dosshaus.com/\">Dosshaus\u003c/a>, founded by L.A.-based artist David Connelly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Everybody knows what it’s like to be a kid and have that big cardboard box,\" says Connelly. \"Either a refrigerator box or a TV box, and it can become anything. It’s a castle. It’s a rocket ship. It’s a race car. It’s a fort.\"\u003c/p>\n\u003cp>At his studio in Ventura, Connelly uses cardboard to create cartoon-like worlds, breathing new life into an object people typically throw away.\u003c/p>\n\u003cp>People donate recycled cardboard boxes to the artists. Connelly then strips off the labels and tape, whips out his box cutter and hacksaw, and transforms the cardboard into everyday items, which he paints using shades of black and white.\u003c/p>\n\u003cfigure id=\"attachment_11791003\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11791003 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40436_odP65Gsg-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40436_odP65Gsg-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40436_odP65Gsg-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40436_odP65Gsg-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40436_odP65Gsg-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40436_odP65Gsg-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Connelly creates everyday items out of recycled cardboard, like typewriters, grand pianos, matchsticks and decks of cards. \u003ccite>(Courtesy of Dosshaus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I just like working with cardboard. I like the way it works. I like the way it fights you. It doesn’t necessarily want to be anything but a box,\" explains Connelly. \"But if you can work with it and you can work within its limitations, it will allow you to let it become something completely different.\"\u003c/p>\n\u003cp>Collaborating with artist Zoey Taylor, Connelly made lots of objects like this for a life-size installation called \"\u003ca href=\"http://www.dosshaus.com/paper-thin-hotel\">The Paper Thin Hotel\u003c/a>\" in L.A. last year. Every detail was made using cardboard, paper, tape and glue—from ashtrays to light fixtures to the clothes the artists wore while moving around inside the installation. The end result feels like walking into a two-dimensional, black and white world.\u003c/p>\n\u003cp>\"I like the idea of subverting people’s sense of reality,\" says Connelly. \"Every single piece I make is all about shifting your perspective, even if it’s just for a moment.\"\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Conelley's latest work can be seen at a new show at L.A.'s \u003ca href=\"http://coreyhelfordgallery.com\">Corey Helford Gallery\u003c/a>. His pieces explores the theme of explosions, with creative explorations bursting out from the wall.\u003c/p>\n\u003cfigure id=\"attachment_11791113\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11791113\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40454_Dosshaus_Pop-qut-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40454_Dosshaus_Pop-qut-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40454_Dosshaus_Pop-qut-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40454_Dosshaus_Pop-qut.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New work from Dosshaus explores the theme of explosions. \"People think of explosions are inherently destructive,\" says David Connelly. \"But they can also be a creative force.\" \u003ccite>(Courtesy of Dosshaus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Dosshaus also has pieces in a show called \"Dress Rehearsal\" at the \u003ca href=\"https://oma-online.org/dress/\">Oceanside Museum of Art\u003c/a> through Jan. 19, 2020. It includes examples of wearable paper clothing, as well as sculptures arranged as an installation to create the feeling that the viewer is backstage at a theater performance.\u003c/p>\n\u003cfigure id=\"attachment_11791114\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11791114\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40455_Dosshaus_Paper-Thin-Homage_Bowie-Yamamoto-qut-800x1080.jpg\" alt=\"\" width=\"800\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40455_Dosshaus_Paper-Thin-Homage_Bowie-Yamamoto-qut-800x1080.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40455_Dosshaus_Paper-Thin-Homage_Bowie-Yamamoto-qut-160x216.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40455_Dosshaus_Paper-Thin-Homage_Bowie-Yamamoto-qut-1020x1377.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40455_Dosshaus_Paper-Thin-Homage_Bowie-Yamamoto-qut-889x1200.jpg 889w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40455_Dosshaus_Paper-Thin-Homage_Bowie-Yamamoto-qut.jpg 1111w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A piece of wearable paper art from the \"Paper Thin Hotel\" series is an homage to David Bowie. \u003ccite>(Courtesy of Dosshaus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "mixed-race-and-the-daughter-of-immigrants-what-it-means-to-be-enough",
"title": "Mixed Race and the Daughter of Immigrants: What It Means to Be 'Enough'",
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"headTitle": "Mixed Race and the Daughter of Immigrants: What It Means to Be ‘Enough’ | KQED",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>I have never felt enough. As a mixed race kid—half-Korean, half-Spaniard—and the daughter of immigrants, I have always been illegible because I don’t fit nicely into the boxes society uses to structure our identities and experiences.\u003c/p>\n\u003cp>To not be or feel “enough” denotes a sense of inadequacy and deficiency, which oddly in my case stems from my unruly excessiveness. I may not feel enough, but I am also too much.\u003c/p>\n\u003cp>I have always been too Spanish for my Korean side, too Korean for my Spanish side, and a little too brown for everyone. When I was little, I dreamed of going somewhere and having someone claim me as their own. To hear someone call out to me, “Hey, you are one of us,” and in the moment have a sense of who “us” might be.\u003c/p>\n\u003cp>When you’re like me — from two different worlds but living in a third new world, the United States — language becomes your calling card and currency. It’s what helps you translate things for your parents and it’s what connects you, like a secret handshake, to the invisible network of communities and cultures underpinning this country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I know this experience intimately because whenever I get to speak Spanish with someone in the middle of an otherwise English-only day, I feel momentarily whole as we share that fleeting smile of recognition and understanding.\u003c/p>\n\u003cp>I don’t speak Korean. I can count the number of Korean words and phrases I know on one hand. Perhaps that’s why all my life I have had a difficult time claiming my Asian (-American) identity. I have always felt that I am not Korean enough.\u003c/p>\n\u003cp>And while I rationally know that language shouldn’t define or police our identities and that we have to instead deconstruct privilege and power, that logic doesn’t really address the pain of feeling erased, of feeling less my father’s daughter. In truth my complicated relationship to what it means to be “enough” is actually a story about my dad.\u003c/p>\n\u003cfigure id=\"attachment_11791123\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://ww2.kqed.org/news/2019/12/13/mixed-race-and-the-daughter-of-immigrants-what-it-means-to-be-enough/rs40438_javier-kim-airport-001/\" rel=\"attachment wp-att-11791123\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11791123\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001.jpeg\" alt=\"\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001-632x474.jpeg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001-536x402.jpeg 536w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cristina’s father, Javier Kim (far left), at the airport with his grandparents (center) and his parents (far right) about to board the plane to Madrid, Spain from Seoul in 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>My father, Kim Dong Ju, was born in Gwangju, South Korea, in 1946, a year after Hiroshima and four years before the Korean War, which he still remembers in the fragmented flashbacks of a child. He was destined to fight in yet another war, the Vietnam War, but my grandfather didn’t want his first-born son to go to fight (and possibly die) in a war so far from home.\u003c/p>\n\u003cp>Luckily my grandfather knew a Jesuit priest who knew people that could help my father secure a student visa to get his graduate degree in Spain. This plan took him even farther from home, but it seemed like a step forward in an era defined by its pursuit of progress and modernity.\u003c/p>\n\u003cp>My grandparents took my father to the airport. In photos, my grandmother dons one of her nicest hanboks while my dad, with a distant look in his eye, sports a modern, slick suit. When he boards the plane to Madrid that day in 1967, he doesn’t yet know that he’s leaving Korea forever, that he will visit but never live there again.\u003c/p>\n\u003cp>From the unknown violence of the Vietnam War to the conservative reality of the Franco dictatorship in Spain, my father flies straight into his future in Madrid, where he is one of the few Koreans or Asians of any kind in the whole country. Caught in the crosswind of history, he makes the best of things by making some friends, getting into fast cars and sporting the latest mod fashions. It’s only at night that he takes the time to write long letters to his mother and poetry about a homeland that’s increasingly becoming more foreign to him.\u003c/p>\n\u003cp>He eventually meets my mom, Cristina Rajal, on a blind date. They fall in love, get engaged and my mother’s family tells my dad that he is going to become a Catholic. My dad gets baptized and he becomes who I have always known him as — Javier Kim.\u003c/p>\n\u003cfigure id=\"attachment_11791124\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://ww2.kqed.org/news/2019/12/13/mixed-race-and-the-daughter-of-immigrants-what-it-means-to-be-enough/rs40437_javier-kim-mama-papa-001/\" rel=\"attachment wp-att-11791124\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11791124\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001.jpeg\" alt=\"\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001-632x474.jpeg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001-536x402.jpeg 536w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cristina’s father, Javier Kim, and mother, Cristina Rajal, met in Spain on a blind date.\u003c/figcaption>\u003c/figure>\n\u003cp>They have my two sisters in Madrid, but spend the next few years traveling around Spain helping local banks set up ATM machines before landing in the up-and-coming Madrid suburb of Majadahonda.\u003c/p>\n\u003cp>To hear both my parents talk about this time in their lives, it sounds like the golden age of the Kim-Rajal family. But my dad had a dream and he couldn’t shake it even though it meant having to leave their lives in Spain. In 1983 the American dream still felt tangible, when my parents, with my teenage sisters in tow, immigrated to California.\u003c/p>\n\u003cp>Fast forward to 1986, my parents have their first and only American-born baby: me, Cristina Hyun-Mi Kim. Growing up in California, being Korean wasn’t something we really talked about. It wasn’t like Spain and my Spanish family, which shaped every aspect of my life, or like the Univision news my whole family would watch at night.\u003c/p>\n\u003cfigure id=\"attachment_11791125\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/2019/12/13/mixed-race-and-the-daughter-of-immigrants-what-it-means-to-be-enough/rs40440_javier-kim-wedding-001/\" rel=\"attachment wp-att-11791125\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11791125\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001-1020x765.jpeg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001-632x474.jpeg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001-536x402.jpeg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001.jpeg 1024w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cristina’s parents on their wedding day with what they say is the entire Korean community in Madrid in 1971.\u003c/figcaption>\u003c/figure>\n\u003cp>Everything Korean about our lives felt muted, hidden or inaccessible. It was my dad talking in hushed tones and me not knowing what he said. It was my dad’s Korean newspaper that only he could read. And it was my dad ordering for all of us and laughing with the Korean waitress in Oakland’s K-Town while we all smiled quietly.\u003c/p>\n\u003cp>Being Korean was hearing my dad singing “Arirang,” a Korean folk song, quietly in his room. And me walking in and seeing him cry as he listened and me crying with him, but not really knowing why — just crying.\u003c/p>\n\u003cp>I didn’t go to Korea until I was 25 years old, when I finally got my dad to go with me. Armed with my crappy recorder, I was determined to find myself and connect with him.\u003c/p>\n\u003cp>There was a part of me that hoped I would get there and instantly feel claimed and at home. I was sad our first night because of course that didn’t happen. No one even thought I was Korean.\u003c/p>\n\u003cp>In the days that followed, I listened intently as my dad proudly explained the origins of Hangul and showed me the Buddhist temple. We laughed while we ate ddukbboki and navigated the Seoul fish market. We took quiet walks as he showed me his old school. He told me about his friends there and about the ones that would go on to die in Gwangju during the 1980 uprising. We explored and fell in love with the Korea of his memory and the Korea of today that was as foreign to him as it was to me.\u003c/p>\n\u003cp>One day, in the middle of a busy food market, when I asked my dad for kimchi lavado, which means “washed kimchi” in Spanish, which is what our family has always called mul kimchi, I realized that we hadn’t stopped speaking in Spanish the whole time we had been in Korea.\u003c/p>\n\u003cp>I was learning all about Korea not in Korean but in Spanish. And that, in fact, speaking Spanish with my dad in Korea is the most authentically me I could ever be, and that telling me all about Korea in Spanish is actually my dad being his most authentic self.\u003c/p>\n\u003cp>In that moment, it dawned on me that we hadn’t talked a lot about Korea growing up not because he didn’t want to share it with me, but because he too was trying to figure out what it means to be Korean. First as a Korean in Spain and now as both Korean and Spanish in the U.S., where he speaks Spanish at home, English at work and Korean rarely. For him, kimchi lavado is also his way of saying mul kimchi.\u003c/p>\n\u003cfigure id=\"attachment_11791044\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://ww2.kqed.org/news/2019/12/13/mixed-race-and-the-daughter-of-immigrants-what-it-means-to-be-enough/rs40439_javier-kim-collage-001-qut/\" rel=\"attachment wp-att-11791044\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11791044\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut.jpg\" alt=\"\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut-536x402.jpg 536w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cristina’s father, Javier Kim.\u003c/figcaption>\u003c/figure>\n\u003cp>Mi papá, the Korean immigrant that went around the world and ended up in California, is just like me. He was Korean, Spanish and even a little American too. He was something in between all three — too much and yet not enough.\u003c/p>\n\u003cp>It brings me back to the Korean folk song that my dad always listens to and that inexplicably makes us both cry. “Arirang,” the unofficial anthem of Korea—both Koreas—and a resistance song during Japanese occupation, tells the story of two lovers indefinitely separated on different mountain tops and forever longing for each other.\u003c/p>\n\u003cp>The song perfectly encapsulates the division of Korea, but it also speaks to the beautiful sadness of being an immigrant, like my dad, of longing for a home you once knew, that’s forever out of reach, that you long for even as you make new homes elsewhere.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And in turn it captures my experience too. The fluidity of being mixed and living in the borderlands — that interstitial space in between the two lovers in “Arirang.” The space where both my dad and I belong and are always enough.\u003c/p>\n\n",
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"excerpt": "\"I have always been too Spanish for my Korean side, too Korean for my Spanish side, and a little too brown for everyone.\"",
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"title": "Mixed Race and the Daughter of Immigrants: What It Means to Be 'Enough' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>I have never felt enough. As a mixed race kid—half-Korean, half-Spaniard—and the daughter of immigrants, I have always been illegible because I don’t fit nicely into the boxes society uses to structure our identities and experiences.\u003c/p>\n\u003cp>To not be or feel “enough” denotes a sense of inadequacy and deficiency, which oddly in my case stems from my unruly excessiveness. I may not feel enough, but I am also too much.\u003c/p>\n\u003cp>I have always been too Spanish for my Korean side, too Korean for my Spanish side, and a little too brown for everyone. When I was little, I dreamed of going somewhere and having someone claim me as their own. To hear someone call out to me, “Hey, you are one of us,” and in the moment have a sense of who “us” might be.\u003c/p>\n\u003cp>When you’re like me — from two different worlds but living in a third new world, the United States — language becomes your calling card and currency. It’s what helps you translate things for your parents and it’s what connects you, like a secret handshake, to the invisible network of communities and cultures underpinning this country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I know this experience intimately because whenever I get to speak Spanish with someone in the middle of an otherwise English-only day, I feel momentarily whole as we share that fleeting smile of recognition and understanding.\u003c/p>\n\u003cp>I don’t speak Korean. I can count the number of Korean words and phrases I know on one hand. Perhaps that’s why all my life I have had a difficult time claiming my Asian (-American) identity. I have always felt that I am not Korean enough.\u003c/p>\n\u003cp>And while I rationally know that language shouldn’t define or police our identities and that we have to instead deconstruct privilege and power, that logic doesn’t really address the pain of feeling erased, of feeling less my father’s daughter. In truth my complicated relationship to what it means to be “enough” is actually a story about my dad.\u003c/p>\n\u003cfigure id=\"attachment_11791123\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://ww2.kqed.org/news/2019/12/13/mixed-race-and-the-daughter-of-immigrants-what-it-means-to-be-enough/rs40438_javier-kim-airport-001/\" rel=\"attachment wp-att-11791123\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11791123\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001.jpeg\" alt=\"\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001-632x474.jpeg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40438_Javier-Kim-Airport.001-536x402.jpeg 536w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cristina’s father, Javier Kim (far left), at the airport with his grandparents (center) and his parents (far right) about to board the plane to Madrid, Spain from Seoul in 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>My father, Kim Dong Ju, was born in Gwangju, South Korea, in 1946, a year after Hiroshima and four years before the Korean War, which he still remembers in the fragmented flashbacks of a child. He was destined to fight in yet another war, the Vietnam War, but my grandfather didn’t want his first-born son to go to fight (and possibly die) in a war so far from home.\u003c/p>\n\u003cp>Luckily my grandfather knew a Jesuit priest who knew people that could help my father secure a student visa to get his graduate degree in Spain. This plan took him even farther from home, but it seemed like a step forward in an era defined by its pursuit of progress and modernity.\u003c/p>\n\u003cp>My grandparents took my father to the airport. In photos, my grandmother dons one of her nicest hanboks while my dad, with a distant look in his eye, sports a modern, slick suit. When he boards the plane to Madrid that day in 1967, he doesn’t yet know that he’s leaving Korea forever, that he will visit but never live there again.\u003c/p>\n\u003cp>From the unknown violence of the Vietnam War to the conservative reality of the Franco dictatorship in Spain, my father flies straight into his future in Madrid, where he is one of the few Koreans or Asians of any kind in the whole country. Caught in the crosswind of history, he makes the best of things by making some friends, getting into fast cars and sporting the latest mod fashions. It’s only at night that he takes the time to write long letters to his mother and poetry about a homeland that’s increasingly becoming more foreign to him.\u003c/p>\n\u003cp>He eventually meets my mom, Cristina Rajal, on a blind date. They fall in love, get engaged and my mother’s family tells my dad that he is going to become a Catholic. My dad gets baptized and he becomes who I have always known him as — Javier Kim.\u003c/p>\n\u003cfigure id=\"attachment_11791124\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://ww2.kqed.org/news/2019/12/13/mixed-race-and-the-daughter-of-immigrants-what-it-means-to-be-enough/rs40437_javier-kim-mama-papa-001/\" rel=\"attachment wp-att-11791124\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11791124\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001.jpeg\" alt=\"\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001-632x474.jpeg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40437_Javier-Kim-mama-papa.001-536x402.jpeg 536w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cristina’s father, Javier Kim, and mother, Cristina Rajal, met in Spain on a blind date.\u003c/figcaption>\u003c/figure>\n\u003cp>They have my two sisters in Madrid, but spend the next few years traveling around Spain helping local banks set up ATM machines before landing in the up-and-coming Madrid suburb of Majadahonda.\u003c/p>\n\u003cp>To hear both my parents talk about this time in their lives, it sounds like the golden age of the Kim-Rajal family. But my dad had a dream and he couldn’t shake it even though it meant having to leave their lives in Spain. In 1983 the American dream still felt tangible, when my parents, with my teenage sisters in tow, immigrated to California.\u003c/p>\n\u003cp>Fast forward to 1986, my parents have their first and only American-born baby: me, Cristina Hyun-Mi Kim. Growing up in California, being Korean wasn’t something we really talked about. It wasn’t like Spain and my Spanish family, which shaped every aspect of my life, or like the Univision news my whole family would watch at night.\u003c/p>\n\u003cfigure id=\"attachment_11791125\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/2019/12/13/mixed-race-and-the-daughter-of-immigrants-what-it-means-to-be-enough/rs40440_javier-kim-wedding-001/\" rel=\"attachment wp-att-11791125\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11791125\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001-1020x765.jpeg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001-632x474.jpeg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001-536x402.jpeg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40440_JAvier-Kim-Wedding.001.jpeg 1024w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cristina’s parents on their wedding day with what they say is the entire Korean community in Madrid in 1971.\u003c/figcaption>\u003c/figure>\n\u003cp>Everything Korean about our lives felt muted, hidden or inaccessible. It was my dad talking in hushed tones and me not knowing what he said. It was my dad’s Korean newspaper that only he could read. And it was my dad ordering for all of us and laughing with the Korean waitress in Oakland’s K-Town while we all smiled quietly.\u003c/p>\n\u003cp>Being Korean was hearing my dad singing “Arirang,” a Korean folk song, quietly in his room. And me walking in and seeing him cry as he listened and me crying with him, but not really knowing why — just crying.\u003c/p>\n\u003cp>I didn’t go to Korea until I was 25 years old, when I finally got my dad to go with me. Armed with my crappy recorder, I was determined to find myself and connect with him.\u003c/p>\n\u003cp>There was a part of me that hoped I would get there and instantly feel claimed and at home. I was sad our first night because of course that didn’t happen. No one even thought I was Korean.\u003c/p>\n\u003cp>In the days that followed, I listened intently as my dad proudly explained the origins of Hangul and showed me the Buddhist temple. We laughed while we ate ddukbboki and navigated the Seoul fish market. We took quiet walks as he showed me his old school. He told me about his friends there and about the ones that would go on to die in Gwangju during the 1980 uprising. We explored and fell in love with the Korea of his memory and the Korea of today that was as foreign to him as it was to me.\u003c/p>\n\u003cp>One day, in the middle of a busy food market, when I asked my dad for kimchi lavado, which means “washed kimchi” in Spanish, which is what our family has always called mul kimchi, I realized that we hadn’t stopped speaking in Spanish the whole time we had been in Korea.\u003c/p>\n\u003cp>I was learning all about Korea not in Korean but in Spanish. And that, in fact, speaking Spanish with my dad in Korea is the most authentically me I could ever be, and that telling me all about Korea in Spanish is actually my dad being his most authentic self.\u003c/p>\n\u003cp>In that moment, it dawned on me that we hadn’t talked a lot about Korea growing up not because he didn’t want to share it with me, but because he too was trying to figure out what it means to be Korean. First as a Korean in Spain and now as both Korean and Spanish in the U.S., where he speaks Spanish at home, English at work and Korean rarely. For him, kimchi lavado is also his way of saying mul kimchi.\u003c/p>\n\u003cfigure id=\"attachment_11791044\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://ww2.kqed.org/news/2019/12/13/mixed-race-and-the-daughter-of-immigrants-what-it-means-to-be-enough/rs40439_javier-kim-collage-001-qut/\" rel=\"attachment wp-att-11791044\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11791044\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut.jpg\" alt=\"\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40439_Javier-Kim-Collage-.001-qut-536x402.jpg 536w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cristina’s father, Javier Kim.\u003c/figcaption>\u003c/figure>\n\u003cp>Mi papá, the Korean immigrant that went around the world and ended up in California, is just like me. He was Korean, Spanish and even a little American too. He was something in between all three — too much and yet not enough.\u003c/p>\n\u003cp>It brings me back to the Korean folk song that my dad always listens to and that inexplicably makes us both cry. “Arirang,” the unofficial anthem of Korea—both Koreas—and a resistance song during Japanese occupation, tells the story of two lovers indefinitely separated on different mountain tops and forever longing for each other.\u003c/p>\n\u003cp>The song perfectly encapsulates the division of Korea, but it also speaks to the beautiful sadness of being an immigrant, like my dad, of longing for a home you once knew, that’s forever out of reach, that you long for even as you make new homes elsewhere.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And in turn it captures my experience too. The fluidity of being mixed and living in the borderlands — that interstitial space in between the two lovers in “Arirang.” The space where both my dad and I belong and are always enough.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new production of Tchaikovsky’s “The Nutcracker” called “\u003ca href=\"https://www.thepeoplesconservatory.org/events-1/kola-an-afro-diasporic-remix-of-the-nutcracker\">KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/a>” is hitting the stage in Oakland this holiday season.\u003c/p>\n\u003cp>It’s a twist on the traditional ballet: There’s no nutcracker, there’s no mouse, and there’s no Clara either.\u003c/p>\n\u003cfigure id=\"attachment_11790392\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790392\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg\" alt=\"Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, 13-year-old dancer Amelinda Origunwa performs the lead role of Nzingha, who travels the African diaspora, learning different kinds of dance as the show unfolds.\u003c/p>\n\u003cp>“There’s Afro-Haitian, Afro-Cuban, all the different Orisha dances. There’s ballet, modern, jazz, hip-hop, break-dancing. And flamenco,” said Origunwa.\u003c/p>\n\u003cfigure id=\"attachment_11790396\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790396\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg\" alt=\"Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The California Report Magazine’s Sasha Khokha spoke with Rozz Nash, the founder and director of \u003ca href=\"https://www.thepeoplesconservatory.org/\">The People’s Conservatory\u003c/a>, the dance company putting on the show.\u003c/p>\n\u003cfigure id=\"attachment_11790387\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790387\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg\" alt=\"RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Note: the quotes below have been edited for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cb>On what makes this show different\u003cbr>\n\u003c/b>\u003cbr>\nNash: Ours really tours the globe, and focuses on not only the dances and music from different cultures, but also some of their gods, spirits and practices. We work Orishas into our work from the Ife tradition. We’re also focusing on a different, innovative narrative we created, which is not like “The Nutcracker” at all.\u003c/p>\n\u003cfigure id=\"attachment_11790389\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790389\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg\" alt=\"Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the plot\u003c/b>\u003c/p>\n\u003cp>Nash: We still have a young girl who’s a protagonist. Nzingha is13, and she’s desperately looking for connection. She’s looking to find her roots and what it is about this world that is meant for her to explore. We take her on a journey along the trans-Aatlantic slave trade from West Africa to Brazil to Cuba to Haiti to Spain, and we end up back in the continental U.S. All this is done through diasporic dances, music, movement and culture. We have an incredible creative team (including local artists Kev Choice, Jennifer Johns, and RyanNicole) that helped make it possible, so we jump from one culture to another through the music and story.\u003c/p>\n\u003cfigure id=\"attachment_11790398\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790398\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg\" alt=\"Dancers rehearse for a new production from The People's Conservatory called Kola: An Afro Diasporic Remix of The Nutcracker.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers rehearse for a new production from The People’s Conservatory called ‘Kola: An Afro Diasporic Remix of The Nutcracker.’ \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>On The People’s Conservatory\u003c/b>\u003c/p>\n\u003cp>Nash: The People’s Conservatory started about a year and half ago, but I’ve been working with these youth for five years at a school called \u003ca href=\"http://rosesinconcrete.org/\">Roses in Concrete,\u003c/a> where I was the director of performing and visual arts. We basically created an integrated arts school. Now that we are in 10 schools, we’re able to provide services to many more people and young people, and some of our students have gone off to other places. It’s a way for us to still keep them in the fold, work with them and help them to develop their art.\u003c/p>\n\u003cfigure id=\"attachment_11790390\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790390\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg\" alt=\"James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the history of Oakland and the history of slavery\u003c/b>\u003c/p>\n\u003cp>Nash: We want to make sure that we’re meeting students where they are and creating content with them that has to do with the history of where they live, who they are, where they come from and their indigeneity. The show is about how slavery has affected how folks exist and navigate the world and how folks in Oakland are navigating the world because of what their lineage had to suffer. “How did you get here? How did your family get here? What are some of the revolutionary background that comes from a lot of our students’ household and families?” We want to highlight that and not suppress that.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new production of Tchaikovsky’s “The Nutcracker” called “\u003ca href=\"https://www.thepeoplesconservatory.org/events-1/kola-an-afro-diasporic-remix-of-the-nutcracker\">KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/a>” is hitting the stage in Oakland this holiday season.\u003c/p>\n\u003cp>It’s a twist on the traditional ballet: There’s no nutcracker, there’s no mouse, and there’s no Clara either.\u003c/p>\n\u003cfigure id=\"attachment_11790392\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790392\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg\" alt=\"Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, 13-year-old dancer Amelinda Origunwa performs the lead role of Nzingha, who travels the African diaspora, learning different kinds of dance as the show unfolds.\u003c/p>\n\u003cp>“There’s Afro-Haitian, Afro-Cuban, all the different Orisha dances. There’s ballet, modern, jazz, hip-hop, break-dancing. And flamenco,” said Origunwa.\u003c/p>\n\u003cfigure id=\"attachment_11790396\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790396\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg\" alt=\"Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The California Report Magazine’s Sasha Khokha spoke with Rozz Nash, the founder and director of \u003ca href=\"https://www.thepeoplesconservatory.org/\">The People’s Conservatory\u003c/a>, the dance company putting on the show.\u003c/p>\n\u003cfigure id=\"attachment_11790387\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790387\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg\" alt=\"RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Note: the quotes below have been edited for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cb>On what makes this show different\u003cbr>\n\u003c/b>\u003cbr>\nNash: Ours really tours the globe, and focuses on not only the dances and music from different cultures, but also some of their gods, spirits and practices. We work Orishas into our work from the Ife tradition. We’re also focusing on a different, innovative narrative we created, which is not like “The Nutcracker” at all.\u003c/p>\n\u003cfigure id=\"attachment_11790389\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790389\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg\" alt=\"Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the plot\u003c/b>\u003c/p>\n\u003cp>Nash: We still have a young girl who’s a protagonist. Nzingha is13, and she’s desperately looking for connection. She’s looking to find her roots and what it is about this world that is meant for her to explore. We take her on a journey along the trans-Aatlantic slave trade from West Africa to Brazil to Cuba to Haiti to Spain, and we end up back in the continental U.S. All this is done through diasporic dances, music, movement and culture. We have an incredible creative team (including local artists Kev Choice, Jennifer Johns, and RyanNicole) that helped make it possible, so we jump from one culture to another through the music and story.\u003c/p>\n\u003cfigure id=\"attachment_11790398\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790398\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg\" alt=\"Dancers rehearse for a new production from The People's Conservatory called Kola: An Afro Diasporic Remix of The Nutcracker.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers rehearse for a new production from The People’s Conservatory called ‘Kola: An Afro Diasporic Remix of The Nutcracker.’ \u003ccite>(Stephanie Lister/KQED)\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>\u003cb>On The People’s Conservatory\u003c/b>\u003c/p>\n\u003cp>Nash: The People’s Conservatory started about a year and half ago, but I’ve been working with these youth for five years at a school called \u003ca href=\"http://rosesinconcrete.org/\">Roses in Concrete,\u003c/a> where I was the director of performing and visual arts. We basically created an integrated arts school. Now that we are in 10 schools, we’re able to provide services to many more people and young people, and some of our students have gone off to other places. It’s a way for us to still keep them in the fold, work with them and help them to develop their art.\u003c/p>\n\u003cfigure id=\"attachment_11790390\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790390\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg\" alt=\"James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the history of Oakland and the history of slavery\u003c/b>\u003c/p>\n\u003cp>Nash: We want to make sure that we’re meeting students where they are and creating content with them that has to do with the history of where they live, who they are, where they come from and their indigeneity. The show is about how slavery has affected how folks exist and navigate the world and how folks in Oakland are navigating the world because of what their lineage had to suffer. “How did you get here? How did your family get here? What are some of the revolutionary background that comes from a lot of our students’ household and families?” We want to highlight that and not suppress that.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "get-your-kickapoo-chili-and-artwork-featuring-strong-babes-at-oaklands-indigenous-red-market",
"title": "At Oakland's Indigenous Red Market, Art, Food and Activism Celebrate Native Identities",
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"headTitle": "At Oakland’s Indigenous Red Market, Art, Food and Activism Celebrate Native Identities | KQED",
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"content": "\u003cp>On the first Sunday of every month, a parking lot in the heart of Oakland’s Fruitvale neighborhood transforms into a vibrant marketplace featuring Indigenous artists, performers and chefs.\u003c/p>\n\u003cp>Since its start over a year ago, the Indigenous Red Market, organized by \u003ca href=\"https://urbannativeera.com\">Urban Native Era\u003c/a> and the\u003ca href=\"https://www.nativehealth.org/content/oakland-0\"> Native American Health Center,\u003c/a> has become more than a place to buy handcrafted items and mouthwatering foods. \u003c/p>\n\u003cp>“It’s a gathering place where we can come and be Native,” said Noah Gallo (Ysleta del Sur Pueblo) one of the event organizers with the Native American Health Center. “There is this misconception that Natives don’t exist anymore, but we do. We’re human beings. We have jobs. We live out here just like everybody else.”\u003c/p>\n\u003cp>Although Oakland is home to a number of Native American community centers, including the \u003ca href=\"https://www.ifhurbanrez.org\">Intertribal Friendship House\u003c/a>, Gallo says it’s important to also have spaces where all Indigenous people — including those from Latin America and the Pacific Islands — can come together.\u003c/p>\n\u003cfigure id=\"attachment_11789451\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11789451 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40309_IRM_KQED-3-qut-800x533.jpg\" alt=\"Mexica dance group Calpulli Coatlicue dances at the Indigenous Red Market in Oakland.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Mexica (Aztec) dance group Calpulli Coatlicue dances at the Indigenous Red Market in Oakland. \u003ccite>(Joey Montoya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kickapoo Chili\u003c/h3>\n\u003cp>The food options cover a wide range, too. At one corner of the market, you might find fry bread tacos. ‘Otai, a \u003ca href=\"https://www.instagram.com/otaimibreeze/\">Tongan watermelon drink, \u003c/a>is sold in another corner.\u003c/p>\n\u003cp>[aside tag=\"native-americans\" label=\"Related Coverage\"]\u003c/p>\n\u003cp>On a recent weekend, the \u003ca href=\"https://www.wahpepahskitchen.com\">Wahpepah’s Kitchen\u003c/a> food stand is slammed with customers waiting to order elderberry hibiscus tea and Kickapoo chili, a thick soup with bison and hominy topped with microgreens. The chef behind the popular food booth is Crystal Wahpepah (Kickapoo/Sac and Fox).\u003c/p>\n\u003cp>“[The chili] is something out of Oklahoma,” said Wahpepah. “It’s very inspired by my grandmother and all the Kickapoo ladies from Mexico all the way up to Oklahoma to Kansas to Michigan.”\u003c/p>\n\u003cp>Wahpepah’s family moved to Oakland from Oklahoma not long after the \u003ca href=\"https://www.apmreports.org/story/2019/11/01/uprooted-the-1950s-plan-to-erase-indian-country\">1956 Indian Relocation Act\u003c/a>, which encouraged rural Native Americans to leave their reservations for urban areas. The federal government circulated posters that promised “good jobs” and “happy homes” in places like Oakland, with the expectation that Native Americans would assimilate.\u003c/p>\n\u003cp>But many of those promises for quality housing and job training didn’t materialize.\u003c/p>\n\u003cfigure id=\"attachment_11789453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11789453\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/come-to-denver-800x997.jpg\" alt=\"A relocation recruitment poster from the 1950s distributed by the Bureau of Indian Affairs.\" width=\"800\" height=\"997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/come-to-denver-800x997.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/come-to-denver-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/come-to-denver-1020x1271.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/come-to-denver-963x1200.jpg 963w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/come-to-denver-1920x2392.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A relocation recruitment poster from the 1950s distributed by the Bureau of Indian Affairs. \u003ccite>(Courtesy National Archives and Records Administration)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite pressure from the federal government to assimilate, Wahpepah’s family didn’t abandon their culture. Instead, they got involved with the local American Indian movement and held onto their traditional foods.\u003c/p>\n\u003cp>Wahpepah grew up among many Native Americans who also hung out at the Intertribal Friendship House. She wondered why there weren’t any restaurants where her community could eat Indigenous foods. That’s what ultimately inspired her to learn the recipes of her Kickapoo elders.\u003c/p>\n\u003cp>Fast forward a couple of years, and Wahpepah became the first Native American chef on the \u003ca href=\"https://www.foodnetwork.com/shows/chopped/episodes/tortellini-trials\">Food Network show “Chopped.”\u003c/a>\u003c/p>\n\u003cp>Nowadays, she’s busy running her booming catering company, but the \u003ca href=\"https://www.facebook.com/IndigenousRedMarket/\">Indigenous Red Market\u003c/a> is her favorite place to share her food.\u003c/p>\n\u003cp>“When we do food booths this is the one I like doing, because it represents who I am and where I’m from,” she said.\u003c/p>\n\u003ch3>‘Strong Indigenous Babes All Around Is My Theme’\u003c/h3>\n\u003cp>The Indigenous Red Market also provides a platform for activists and artists to report on social issues like the construction happening on sacred lands, including Mauna Kea in Hawaii.\u003c/p>\n\u003cp>These issues are at the forefront of \u003ca href=\"https://www.facebook.com/pg/jackiefawnillustrations/photos/?ref=page_internal\">Jackie Fawn’s\u003c/a> (Yurok/Washoe/Filipino) work. Her illustrations of Indigenous women — stylized like the characters of the comic “Sailor Moon” — are on display at her booth.\u003c/p>\n\u003cfigure id=\"attachment_11789493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11789493\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut-800x801.jpg\" alt=\"One of the many posters artist Jackie Fawn has for sale at the Indigenous Red Market.\" width=\"800\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut-470x470.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut.jpg 1001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the many posters artist Jackie Fawn has for sale at the Indigenous Red Market. \u003ccite>(Courtesy of Jackie Fawn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My favorite poster is a woman riding a horse into battle. She’s fighting a black snake, which symbolizes the pipelines,” said Fawn. “Strong Indigenous babes all around is my theme of work.”\u003c/p>\n\u003cp>On the other side of the market is jewelry maker \u003ca href=\"https://www.instagram.com/bravensaigeeagle/\">Desiree Adams\u003c/a> (Diné), who blends her Native culture with Bay Area aesthetics. Her handcrafted hoop earrings are intricately beaded in the pattern of Diné baskets and integrate the colors of local sports teams like the Oakland A’s and the Golden State Warriors.\u003c/p>\n\u003cp>“We’re not all on reservations. We’re urban. We’re just trying to bring awareness to who we are as people and let society know that we’re still here,” said Adams.\u003c/p>\n\u003cp>She also wants to share the diversity of Native people. “A lot of people think we’re just all one tribe,” said Adams. “We’re multiple tribes, multiple clans.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Honoring and sharing different histories and identities is what draws many Indigenous people in the Bay Area to this market — and others have come from as far as Sacramento, Los Angeles and New Mexico.\u003c/p>\n\u003cp>For drummer and singer Manny Lieras (Navajo/Comanche), the market is also a place to share powwow drumming and singing.\u003c/p>\n\u003cp>To close out the event, he invited the crowd to join his family in a communal dance. Toddlers, 20-somethings and elders linked arms to form a circle. Together they stepped to the beat of the drum.\u003c/p>\n\u003cp>“All right, give yourselves a big round of applause for being out here at the Indigenous Red Market,” said Lieras. “Thank you for your time. Thank you for your participation. Thank you for your good vibes.”\u003c/p>\n\u003cp>Then friends, old and new, made plans to see each other at the next market.\u003c/p>\n\u003cp>The market is located at 3124 International Blvd, Oakland. For information on market dates, follow \u003ca href=\"https://www.instagram.com/indigenousredmarket/?utm_source=ig_embed\">@indigenousredmarket on Instagram \u003c/a>or the market’s\u003ca href=\"https://www.facebook.com/IndigenousRedMarket/\"> Facebook page.\u003c/a>\u003c/p>\n\u003cp>https://www.instagram.com/p/B5jeKrXF5QC/\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "At Oakland's Indigenous Red Market, Art, Food and Activism Celebrate Native Identities | KQED",
"description": "On the first Sunday of every month, a parking lot in the heart of Oakland’s Fruitvale neighborhood transforms into a vibrant marketplace featuring Indigenous artists, performers and chefs.",
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"headline": "At Oakland's Indigenous Red Market, Art, Food and Activism Celebrate Native Identities",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the first Sunday of every month, a parking lot in the heart of Oakland’s Fruitvale neighborhood transforms into a vibrant marketplace featuring Indigenous artists, performers and chefs.\u003c/p>\n\u003cp>Since its start over a year ago, the Indigenous Red Market, organized by \u003ca href=\"https://urbannativeera.com\">Urban Native Era\u003c/a> and the\u003ca href=\"https://www.nativehealth.org/content/oakland-0\"> Native American Health Center,\u003c/a> has become more than a place to buy handcrafted items and mouthwatering foods. \u003c/p>\n\u003cp>“It’s a gathering place where we can come and be Native,” said Noah Gallo (Ysleta del Sur Pueblo) one of the event organizers with the Native American Health Center. “There is this misconception that Natives don’t exist anymore, but we do. We’re human beings. We have jobs. We live out here just like everybody else.”\u003c/p>\n\u003cp>Although Oakland is home to a number of Native American community centers, including the \u003ca href=\"https://www.ifhurbanrez.org\">Intertribal Friendship House\u003c/a>, Gallo says it’s important to also have spaces where all Indigenous people — including those from Latin America and the Pacific Islands — can come together.\u003c/p>\n\u003cfigure id=\"attachment_11789451\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11789451 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40309_IRM_KQED-3-qut-800x533.jpg\" alt=\"Mexica dance group Calpulli Coatlicue dances at the Indigenous Red Market in Oakland.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Mexica (Aztec) dance group Calpulli Coatlicue dances at the Indigenous Red Market in Oakland. \u003ccite>(Joey Montoya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kickapoo Chili\u003c/h3>\n\u003cp>The food options cover a wide range, too. At one corner of the market, you might find fry bread tacos. ‘Otai, a \u003ca href=\"https://www.instagram.com/otaimibreeze/\">Tongan watermelon drink, \u003c/a>is sold in another corner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a recent weekend, the \u003ca href=\"https://www.wahpepahskitchen.com\">Wahpepah’s Kitchen\u003c/a> food stand is slammed with customers waiting to order elderberry hibiscus tea and Kickapoo chili, a thick soup with bison and hominy topped with microgreens. The chef behind the popular food booth is Crystal Wahpepah (Kickapoo/Sac and Fox).\u003c/p>\n\u003cp>“[The chili] is something out of Oklahoma,” said Wahpepah. “It’s very inspired by my grandmother and all the Kickapoo ladies from Mexico all the way up to Oklahoma to Kansas to Michigan.”\u003c/p>\n\u003cp>Wahpepah’s family moved to Oakland from Oklahoma not long after the \u003ca href=\"https://www.apmreports.org/story/2019/11/01/uprooted-the-1950s-plan-to-erase-indian-country\">1956 Indian Relocation Act\u003c/a>, which encouraged rural Native Americans to leave their reservations for urban areas. The federal government circulated posters that promised “good jobs” and “happy homes” in places like Oakland, with the expectation that Native Americans would assimilate.\u003c/p>\n\u003cp>But many of those promises for quality housing and job training didn’t materialize.\u003c/p>\n\u003cfigure id=\"attachment_11789453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11789453\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/come-to-denver-800x997.jpg\" alt=\"A relocation recruitment poster from the 1950s distributed by the Bureau of Indian Affairs.\" width=\"800\" height=\"997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/come-to-denver-800x997.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/come-to-denver-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/come-to-denver-1020x1271.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/come-to-denver-963x1200.jpg 963w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/come-to-denver-1920x2392.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A relocation recruitment poster from the 1950s distributed by the Bureau of Indian Affairs. \u003ccite>(Courtesy National Archives and Records Administration)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite pressure from the federal government to assimilate, Wahpepah’s family didn’t abandon their culture. Instead, they got involved with the local American Indian movement and held onto their traditional foods.\u003c/p>\n\u003cp>Wahpepah grew up among many Native Americans who also hung out at the Intertribal Friendship House. She wondered why there weren’t any restaurants where her community could eat Indigenous foods. That’s what ultimately inspired her to learn the recipes of her Kickapoo elders.\u003c/p>\n\u003cp>Fast forward a couple of years, and Wahpepah became the first Native American chef on the \u003ca href=\"https://www.foodnetwork.com/shows/chopped/episodes/tortellini-trials\">Food Network show “Chopped.”\u003c/a>\u003c/p>\n\u003cp>Nowadays, she’s busy running her booming catering company, but the \u003ca href=\"https://www.facebook.com/IndigenousRedMarket/\">Indigenous Red Market\u003c/a> is her favorite place to share her food.\u003c/p>\n\u003cp>“When we do food booths this is the one I like doing, because it represents who I am and where I’m from,” she said.\u003c/p>\n\u003ch3>‘Strong Indigenous Babes All Around Is My Theme’\u003c/h3>\n\u003cp>The Indigenous Red Market also provides a platform for activists and artists to report on social issues like the construction happening on sacred lands, including Mauna Kea in Hawaii.\u003c/p>\n\u003cp>These issues are at the forefront of \u003ca href=\"https://www.facebook.com/pg/jackiefawnillustrations/photos/?ref=page_internal\">Jackie Fawn’s\u003c/a> (Yurok/Washoe/Filipino) work. Her illustrations of Indigenous women — stylized like the characters of the comic “Sailor Moon” — are on display at her booth.\u003c/p>\n\u003cfigure id=\"attachment_11789493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11789493\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut-800x801.jpg\" alt=\"One of the many posters artist Jackie Fawn has for sale at the Indigenous Red Market.\" width=\"800\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut-470x470.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40316_74413575_10163059223725599_3383600945463033856_o-qut.jpg 1001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the many posters artist Jackie Fawn has for sale at the Indigenous Red Market. \u003ccite>(Courtesy of Jackie Fawn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My favorite poster is a woman riding a horse into battle. She’s fighting a black snake, which symbolizes the pipelines,” said Fawn. “Strong Indigenous babes all around is my theme of work.”\u003c/p>\n\u003cp>On the other side of the market is jewelry maker \u003ca href=\"https://www.instagram.com/bravensaigeeagle/\">Desiree Adams\u003c/a> (Diné), who blends her Native culture with Bay Area aesthetics. Her handcrafted hoop earrings are intricately beaded in the pattern of Diné baskets and integrate the colors of local sports teams like the Oakland A’s and the Golden State Warriors.\u003c/p>\n\u003cp>“We’re not all on reservations. We’re urban. We’re just trying to bring awareness to who we are as people and let society know that we’re still here,” said Adams.\u003c/p>\n\u003cp>She also wants to share the diversity of Native people. “A lot of people think we’re just all one tribe,” said Adams. “We’re multiple tribes, multiple clans.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Honoring and sharing different histories and identities is what draws many Indigenous people in the Bay Area to this market — and others have come from as far as Sacramento, Los Angeles and New Mexico.\u003c/p>\n\u003cp>For drummer and singer Manny Lieras (Navajo/Comanche), the market is also a place to share powwow drumming and singing.\u003c/p>\n\u003cp>To close out the event, he invited the crowd to join his family in a communal dance. Toddlers, 20-somethings and elders linked arms to form a circle. Together they stepped to the beat of the drum.\u003c/p>\n\u003cp>“All right, give yourselves a big round of applause for being out here at the Indigenous Red Market,” said Lieras. “Thank you for your time. Thank you for your participation. Thank you for your good vibes.”\u003c/p>\n\u003cp>Then friends, old and new, made plans to see each other at the next market.\u003c/p>\n\u003cp>The market is located at 3124 International Blvd, Oakland. For information on market dates, follow \u003ca href=\"https://www.instagram.com/indigenousredmarket/?utm_source=ig_embed\">@indigenousredmarket on Instagram \u003c/a>or the market’s\u003ca href=\"https://www.facebook.com/IndigenousRedMarket/\"> Facebook page.\u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"slug": "how-charlie-chaplin-and-silent-films-flourished-in-the-east-bay",
"title": "How Charlie Chaplin and Silent Films Flourished in the East Bay",
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"content": "\u003cp>These days, thoughts of the silent screen era in the San Francisco Bay Area typically call up footage of Market Street shot by the Miles Brothers just days before the 1906 earthquake laid the city to waste.\u003c/p>\n\u003cp>San Francisco was a choice location for movie shoots at the turn of the 20th century, but fog and chill led at least one filmmaker from parts East to settle a wee bit farther south, in Niles, California.\u003c/p>\n\u003cp>I know this because José Muñoz, who grew up in Fremont, asked \u003ca href=\"https://www.kqed.org/podcasts/baycurious\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Curious\u003c/a> to look into the history for him.\u003c/p>\n\u003cp>“I’ve always been fascinated by movies, always watched movies,” Muñoz said, and his parents told him something he’s wondered about for years: Movies were once made in Fremont.\u003c/p>\n\u003cp>“I wanted to reach out to you guys to get more insight on the matter, to see if we could say that Fremont was the first Hollywood,” he added.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Back in the day, before Niles became a Fremont neighborhood, it used to be its own town, with sunny, warm weather more akin to that in Southern California — and easy access by train to San Francisco and Chicago.\u003c/p>\n\u003cp>That all had tremendous appeal for the Essanay Film Manufacturing Co., run in part by \u003ca href=\"https://en.wikipedia.org/wiki/Broncho_Billy_Anderson\" target=\"_blank\" rel=\"noopener noreferrer\">“Broncho Billy” Anderson\u003c/a> (born Maxwell Henry Aronson), the first Western movie star cowboy.\u003c/p>\n\u003cp>“Anderson had been traveling around the United States for three years, looking for the perfect weather and filming location for the Westerns that he was making,” explained David Kiehn, historian for the \u003ca href=\"http://nilesfilmmuseum.org\" target=\"_blank\" rel=\"noopener noreferrer\">Niles Essanay Silent Film Museum\u003c/a>, one of the most delightful \u003ca href=\"https://www.kqed.org/news/11778612/12-off-beat-museums-in-the-bay-area-to-visit-this-fall\" target=\"_blank\" rel=\"noopener noreferrer\">offbeat museums\u003c/a> you can visit in the region.\u003c/p>\n\u003cp>Anderson settled on Niles in 1912, and over the next four years Essanay made more than 350 films there. “It was the most successful silent film company in the Bay Area,” said Kiehn.\u003c/p>\n\u003ch2>Fast and Furious\u003c/h2>\n\u003cp>Film companies of the time churned out movies at the rate of several a week. They tended to be thin on plot and big on action; chase scenes and slapstick comedy. The companies hired a lot of actors from the world of vaudeville theater, actors with the physical stamina and comedic chops for this kind of work.\u003c/p>\n\u003cp>Broncho Billy spotted a rising talent at a rival film company in Hollywood: a young English comedian by the name of Charlie Chaplin.\u003c/p>\n\u003cfigure id=\"attachment_11789153\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11789153 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40306_IMG_8320-qut.jpg\" alt=\"Back in the 1910s, the Essanay Film Manufacturing Co. was a big deal in Niles, California, as well as West Coast filmmaking. \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40306_IMG_8320-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40306_IMG_8320-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40306_IMG_8320-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40306_IMG_8320-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40306_IMG_8320-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Back in the 1910s, the Essanay Film Manufacturing Co. was a big deal in Niles, California, as well as West Coast filmmaking. \u003ccite>(Courtesy of Niles Essanay Silent Film Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Chaplin had been working at the Keystone Film Co. for $150 a week, and his contract was almost up. And Broncho Billy’s righthand man, Jess Robbins, signed him at Essanay for $1,250 a week — and a $10,000 signing bonus,” said Kiehn.\u003c/p>\n\u003cp>It was an expensive bet that paid off for Essanay. Chaplin didn’t particularly like Niles, which was, after all, a bit of a backwater compared to Los Angeles, but he made five films in Niles that cemented his standing as a movie star.\u003c/p>\n\u003cp>One of those was “The Tramp.” You can still visit the places where scenes were shot. For instance, consider the final, iconic scene of this movie, when our brokenhearted tramp waddles away from the camera in Niles Canyon. The area still looks a lot like it did back then, with big trees waving over a winding country road, albeit paved now.\u003c/p>\n\u003cp>Essanay allowed Chaplin to transition from being an ensemble performer, with a popular bit in someone else’s film, to a filmmaker himself, exercising creative control.\u003c/p>\n\u003cp>“Niles is pivotal,” said film history expert \u003ca href=\"https://www.bisonarchives.com/aboutmarc.html\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Wanamaker\u003c/a>. Chaplin, he said, fought for and achieved great autonomy with Essanay. “He could do whatever he wanted. This was the beginning of Chaplin as we know him.”\u003c/p>\n\u003cp>Chaplin itched to return to Hollywood, though, which by then was well on its way to becoming the center of the moviemaking universe. There, Chaplin made a few more movies for the company before striking out on his own as a producer.\u003c/p>\n\u003cp>The Niles studio kept on keeping on, until talkies became popular in the 1920s, and the film studio’s proximity to train tracks became an insurmountable problem.\u003c/p>\n\u003ch2>A Temple to Silent Film\u003c/h2>\n\u003cp>Fast forward to today, and the studio’s theater has become home to the Niles Essanay Silent Film Museum, itself home to an impressive and ever-growing archive of silent movies.\u003c/p>\n\u003cfigure id=\"attachment_11789166\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11789166 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40307_IMG_8297-qut.jpg\" alt=\"David Kiehn demonstrates the working projectors in the back of the theater at the Niles Essanay Silent Film Museum in Niles, California. "This is the original booth from 1913, tin lined, as you can see." Why? "Because of the nitrate fire hazard. You needed some kind of protection on the wood so that if a fire did start, it wouldn't burn the whole place down."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40307_IMG_8297-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40307_IMG_8297-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40307_IMG_8297-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40307_IMG_8297-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40307_IMG_8297-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David Kiehn demonstrates the working projectors in the back of the theater at the Niles Essanay Silent Film Museum in Niles, California. “This is the original booth from 1913, tin-lined, as you can see.” Why? “Because of the nitrate fire hazard. You needed some kind of protection on the wood so that if a fire did start, it wouldn’t burn the whole place down.” \u003ccite>(Carina Woudenberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Over 400 different silent feature films and over 600 silent short films. We’ve got a collection of 10,000 film prints that we show every Saturday night since Jan. 22, 2005, almost 15 years now,” Kiehn boasted, as he toured me around an impressive repository for beautifully restored and framed movie posters of the period, and the machinery of filmmaking, like early cameras and projectors.\u003c/p>\n\u003cp>Kiehn also repairs and researches the background of footage that people send here because they know Niles is a good home for silent film.\u003c/p>\n\u003cp>“It’s amazing what’s out there and what still is turning up. A family, not too long ago, brought us five nitrate films that were under a house in Stockton, rare films that I’ve never seen before,” he said.\u003c/p>\n\u003cp>Among the cache was one film, shot by the Miles Brothers in 1912 at Tanforan Park, of an aviation meet. Also, there was footage from the San Francisco earthquake aftermath in 1906. “Some pretty amazing stuff,” marveled Kiehn.\u003c/p>\n\u003cfigure id=\"attachment_11789167\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11789167\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40308_IMG_8321-qut.jpg\" alt=\"The Niles Essanay Silent Film Museum in Niles, California has become a repository for all sorts of artifacts, ranging from era posters to film projectors.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40308_IMG_8321-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40308_IMG_8321-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40308_IMG_8321-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40308_IMG_8321-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40308_IMG_8321-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Niles Essanay Silent Film Museum in Niles, California has become a repository for all sorts of artifacts, ranging from era posters to film projectors. \u003ccite>(Carina Woudenberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The silent film era lasted almost 40 years, from the 1890s through the 1920s.\u003c/p>\n\u003cp>“It’s amazing how many films that were made in that time period. Thousands and thousands of films. Only a fraction survive, but because there were so many made, there are still a lot of them around,” said Kiehn.\u003c/p>\n\u003cp>Sure, you could just watch some of these films on YouTube. But the musical choices are typically awful, and there’s something to be said for the visceral experience of watching a movie in a theater, with a live piano player, on a Saturday night.\u003c/p>\n\u003cp>Kiehn curates the schedule, which typically involves a feature and two shorts on any given night. Chaplin gets a lot of love, but so do some of the talents lesser known today but big in their time.\u003c/p>\n\u003cp>Consider \u003ca href=\"https://wfpp.columbia.edu/pioneer/ccp-mabel-normand/\" target=\"_blank\" rel=\"noopener noreferrer\">Mabel Normand\u003c/a>, with bouncy curls and expressive eyebrows. She was the first actress to be tied to the railroad tracks. She was at Keystone when Charlie Chaplin arrived, and taught him a few things before he moved on to Essanay.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=GUsYq2MbFOI]She also directed some of the movies he was in, and served as his first leading lady for a stretch. Eventually, she even ran her own production company, just like Chaplin. Thanks to historians like Kiehn, we’re rediscovering treasures \u003ca href=\"https://www.kqed.org/arts/13836539/the-eradication-of-memory-on-netflix-amazon-and-other-streaming-video-sites\" target=\"_blank\" rel=\"noopener noreferrer\">hidden in plain sight\u003c/a> for close to a century now.\u003c/p>\n\u003cp>What does José Muñoz, who asked the question that prompted this story, have to say about what we found?\u003c/p>\n\u003cp>“It’s not only just a piece of history for Fremont or the Bay Area, but also all of California, ’cause people think moviemaking was born and still lives in SoCal, but this is as much as of a NorCal story as it is anything else.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The surprising history of a Bay Area silent film studio that helped the era's biggest movie star.",
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"title": "How Charlie Chaplin and Silent Films Flourished in the East Bay | KQED",
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"headline": "How Charlie Chaplin and Silent Films Flourished in the East Bay",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, thoughts of the silent screen era in the San Francisco Bay Area typically call up footage of Market Street shot by the Miles Brothers just days before the 1906 earthquake laid the city to waste.\u003c/p>\n\u003cp>San Francisco was a choice location for movie shoots at the turn of the 20th century, but fog and chill led at least one filmmaker from parts East to settle a wee bit farther south, in Niles, California.\u003c/p>\n\u003cp>I know this because José Muñoz, who grew up in Fremont, asked \u003ca href=\"https://www.kqed.org/podcasts/baycurious\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Curious\u003c/a> to look into the history for him.\u003c/p>\n\u003cp>“I’ve always been fascinated by movies, always watched movies,” Muñoz said, and his parents told him something he’s wondered about for years: Movies were once made in Fremont.\u003c/p>\n\u003cp>“I wanted to reach out to you guys to get more insight on the matter, to see if we could say that Fremont was the first Hollywood,” he added.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Back in the day, before Niles became a Fremont neighborhood, it used to be its own town, with sunny, warm weather more akin to that in Southern California — and easy access by train to San Francisco and Chicago.\u003c/p>\n\u003cp>That all had tremendous appeal for the Essanay Film Manufacturing Co., run in part by \u003ca href=\"https://en.wikipedia.org/wiki/Broncho_Billy_Anderson\" target=\"_blank\" rel=\"noopener noreferrer\">“Broncho Billy” Anderson\u003c/a> (born Maxwell Henry Aronson), the first Western movie star cowboy.\u003c/p>\n\u003cp>“Anderson had been traveling around the United States for three years, looking for the perfect weather and filming location for the Westerns that he was making,” explained David Kiehn, historian for the \u003ca href=\"http://nilesfilmmuseum.org\" target=\"_blank\" rel=\"noopener noreferrer\">Niles Essanay Silent Film Museum\u003c/a>, one of the most delightful \u003ca href=\"https://www.kqed.org/news/11778612/12-off-beat-museums-in-the-bay-area-to-visit-this-fall\" target=\"_blank\" rel=\"noopener noreferrer\">offbeat museums\u003c/a> you can visit in the region.\u003c/p>\n\u003cp>Anderson settled on Niles in 1912, and over the next four years Essanay made more than 350 films there. “It was the most successful silent film company in the Bay Area,” said Kiehn.\u003c/p>\n\u003ch2>Fast and Furious\u003c/h2>\n\u003cp>Film companies of the time churned out movies at the rate of several a week. They tended to be thin on plot and big on action; chase scenes and slapstick comedy. The companies hired a lot of actors from the world of vaudeville theater, actors with the physical stamina and comedic chops for this kind of work.\u003c/p>\n\u003cp>Broncho Billy spotted a rising talent at a rival film company in Hollywood: a young English comedian by the name of Charlie Chaplin.\u003c/p>\n\u003cfigure id=\"attachment_11789153\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11789153 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40306_IMG_8320-qut.jpg\" alt=\"Back in the 1910s, the Essanay Film Manufacturing Co. was a big deal in Niles, California, as well as West Coast filmmaking. \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40306_IMG_8320-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40306_IMG_8320-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40306_IMG_8320-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40306_IMG_8320-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40306_IMG_8320-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Back in the 1910s, the Essanay Film Manufacturing Co. was a big deal in Niles, California, as well as West Coast filmmaking. \u003ccite>(Courtesy of Niles Essanay Silent Film Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Chaplin had been working at the Keystone Film Co. for $150 a week, and his contract was almost up. And Broncho Billy’s righthand man, Jess Robbins, signed him at Essanay for $1,250 a week — and a $10,000 signing bonus,” said Kiehn.\u003c/p>\n\u003cp>It was an expensive bet that paid off for Essanay. Chaplin didn’t particularly like Niles, which was, after all, a bit of a backwater compared to Los Angeles, but he made five films in Niles that cemented his standing as a movie star.\u003c/p>\n\u003cp>One of those was “The Tramp.” You can still visit the places where scenes were shot. For instance, consider the final, iconic scene of this movie, when our brokenhearted tramp waddles away from the camera in Niles Canyon. The area still looks a lot like it did back then, with big trees waving over a winding country road, albeit paved now.\u003c/p>\n\u003cp>Essanay allowed Chaplin to transition from being an ensemble performer, with a popular bit in someone else’s film, to a filmmaker himself, exercising creative control.\u003c/p>\n\u003cp>“Niles is pivotal,” said film history expert \u003ca href=\"https://www.bisonarchives.com/aboutmarc.html\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Wanamaker\u003c/a>. Chaplin, he said, fought for and achieved great autonomy with Essanay. “He could do whatever he wanted. This was the beginning of Chaplin as we know him.”\u003c/p>\n\u003cp>Chaplin itched to return to Hollywood, though, which by then was well on its way to becoming the center of the moviemaking universe. There, Chaplin made a few more movies for the company before striking out on his own as a producer.\u003c/p>\n\u003cp>The Niles studio kept on keeping on, until talkies became popular in the 1920s, and the film studio’s proximity to train tracks became an insurmountable problem.\u003c/p>\n\u003ch2>A Temple to Silent Film\u003c/h2>\n\u003cp>Fast forward to today, and the studio’s theater has become home to the Niles Essanay Silent Film Museum, itself home to an impressive and ever-growing archive of silent movies.\u003c/p>\n\u003cfigure id=\"attachment_11789166\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11789166 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40307_IMG_8297-qut.jpg\" alt=\"David Kiehn demonstrates the working projectors in the back of the theater at the Niles Essanay Silent Film Museum in Niles, California. "This is the original booth from 1913, tin lined, as you can see." Why? "Because of the nitrate fire hazard. You needed some kind of protection on the wood so that if a fire did start, it wouldn't burn the whole place down."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40307_IMG_8297-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40307_IMG_8297-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40307_IMG_8297-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40307_IMG_8297-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40307_IMG_8297-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David Kiehn demonstrates the working projectors in the back of the theater at the Niles Essanay Silent Film Museum in Niles, California. “This is the original booth from 1913, tin-lined, as you can see.” Why? “Because of the nitrate fire hazard. You needed some kind of protection on the wood so that if a fire did start, it wouldn’t burn the whole place down.” \u003ccite>(Carina Woudenberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Over 400 different silent feature films and over 600 silent short films. We’ve got a collection of 10,000 film prints that we show every Saturday night since Jan. 22, 2005, almost 15 years now,” Kiehn boasted, as he toured me around an impressive repository for beautifully restored and framed movie posters of the period, and the machinery of filmmaking, like early cameras and projectors.\u003c/p>\n\u003cp>Kiehn also repairs and researches the background of footage that people send here because they know Niles is a good home for silent film.\u003c/p>\n\u003cp>“It’s amazing what’s out there and what still is turning up. A family, not too long ago, brought us five nitrate films that were under a house in Stockton, rare films that I’ve never seen before,” he said.\u003c/p>\n\u003cp>Among the cache was one film, shot by the Miles Brothers in 1912 at Tanforan Park, of an aviation meet. Also, there was footage from the San Francisco earthquake aftermath in 1906. “Some pretty amazing stuff,” marveled Kiehn.\u003c/p>\n\u003cfigure id=\"attachment_11789167\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11789167\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40308_IMG_8321-qut.jpg\" alt=\"The Niles Essanay Silent Film Museum in Niles, California has become a repository for all sorts of artifacts, ranging from era posters to film projectors.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40308_IMG_8321-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40308_IMG_8321-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40308_IMG_8321-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40308_IMG_8321-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40308_IMG_8321-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Niles Essanay Silent Film Museum in Niles, California has become a repository for all sorts of artifacts, ranging from era posters to film projectors. \u003ccite>(Carina Woudenberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The silent film era lasted almost 40 years, from the 1890s through the 1920s.\u003c/p>\n\u003cp>“It’s amazing how many films that were made in that time period. Thousands and thousands of films. Only a fraction survive, but because there were so many made, there are still a lot of them around,” said Kiehn.\u003c/p>\n\u003cp>Sure, you could just watch some of these films on YouTube. But the musical choices are typically awful, and there’s something to be said for the visceral experience of watching a movie in a theater, with a live piano player, on a Saturday night.\u003c/p>\n\u003cp>Kiehn curates the schedule, which typically involves a feature and two shorts on any given night. Chaplin gets a lot of love, but so do some of the talents lesser known today but big in their time.\u003c/p>\n\u003cp>Consider \u003ca href=\"https://wfpp.columbia.edu/pioneer/ccp-mabel-normand/\" target=\"_blank\" rel=\"noopener noreferrer\">Mabel Normand\u003c/a>, with bouncy curls and expressive eyebrows. She was the first actress to be tied to the railroad tracks. She was at Keystone when Charlie Chaplin arrived, and taught him a few things before he moved on to Essanay.\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/GUsYq2MbFOI'\n title='//www.youtube.com/embed/GUsYq2MbFOI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>She also directed some of the movies he was in, and served as his first leading lady for a stretch. Eventually, she even ran her own production company, just like Chaplin. Thanks to historians like Kiehn, we’re rediscovering treasures \u003ca href=\"https://www.kqed.org/arts/13836539/the-eradication-of-memory-on-netflix-amazon-and-other-streaming-video-sites\" target=\"_blank\" rel=\"noopener noreferrer\">hidden in plain sight\u003c/a> for close to a century now.\u003c/p>\n\u003cp>What does José Muñoz, who asked the question that prompted this story, have to say about what we found?\u003c/p>\n\u003cp>“It’s not only just a piece of history for Fremont or the Bay Area, but also all of California, ’cause people think moviemaking was born and still lives in SoCal, but this is as much as of a NorCal story as it is anything else.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "PHOTOS: Alcatraz Occupation to Dedication, Different Time ... Same Place",
"title": "PHOTOS: Alcatraz Occupation to Dedication, Different Time ... Same Place",
"headTitle": "KQED News",
"content": "\u003cp>This month marks the 50th \u003ca href=\"https://www.kqed.org/arts/13870041/alcatraz-occupation-50\" target=\"_blank\" rel=\"noopener noreferrer\">anniversary of the occupation\u003c/a> of Alcatraz, when a group of Native Americans landed on the San Francisco Bay island, launching a 19-month occupation based on an established legal principle of reclaiming abandoned federal lands for Native use.\u003c/p>\n\u003cp>Now, for the next 19 months — the same amount of time that the Indians of All Tribes called the island home — an exhibition in the New Industries Building on that occupation, titled \"\u003ca href=\"https://www.nps.gov/goga/red-power-on-alcatraz.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Red Power on Alcatraz\u003c/a>: Perspectives 50 Years Later,\" will be open to the public.\u003c/p>\n\u003cp>But the cliffside building was more than a gallery in recent days. It was a site of reunion, reflection and celebration.\u003c/p>\n\u003cp>The events commemorating the occupation on Saturday included an opening prayer and dedication to the exhibit by Geneva Seaboy, an original occupier. She thanked the National Park Service, which she called \"instrumental in putting the exhibit together.\"\u003c/p>\n\u003cfigure id=\"attachment_11788400\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11788400 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elaine Duncan (left) and Geneva Seaboy (seated) watch a slideshow of photos taken by Brooks Townes, a sailor who brought the first organizers to the island and also was one of the first to photograph the occupation. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788375\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788375\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A teepee erected in the New Industries Building for the Red Power exhibition. Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exhibitors Ilka Hartmann, Stephen Shames and Kent Blansett were present for the display to answer questions. Blansett and Dr. LaNada War Jack, another original occupier, gave presentations.\u003c/p>\n\u003cfigure id=\"attachment_11788423\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11788423 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kent Blansett, an associate professor of history and Native American Studies at the University of Nebraska at Omaha and a descendant of Cherokee, Creek, Choctaw, Shawnee and Potawatomi, speaks at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blansett's display, \"Not Your Indians Anymore,\" features ephemera, original artifacts and rare media from his personal collection.\u003c/p>\n\u003cfigure id=\"attachment_11788365\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11788365 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ray St. Clair (Whitehawk) of White Earth, Minnesota, Ojibwe/Eagle Clan, wrapped in his Nation's flag, watches a video from Kent Blansett's display at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788374\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788374\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An original poster made by artist Joseph \"Indian Joe\" Morris (Blackfeet) featured at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788379\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788379\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ilka Hartmann sitting in front of one of her photographs at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788373\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788373\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors look at large photographs taken by Ilka Hartmann at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Leach, who was the first to set foot on the island as an occupier, brought his son, Dana (Joe) Leach, to Alcatraz for the first time for the anniversary.\u003c/p>\n\u003cp>\"I never came here before because I couldn't afford it,\" Joe said.\u003c/p>\n\u003cp>Some photos of Joe's grandmother, Stella Means, who was a nurse on the island during the occupation, are in the show.\u003c/p>\n\u003cfigure id=\"attachment_11788372\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788372\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Leach (Colville/Sioux) of Nespelem, poses in cell 13 in cell block A in Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Toward the end of the event, Mutsun-Ohlone educator, singer and activist Kanyon Sayers-Roods read a letter written by her Ohlone relatives, whose ancestral land Alcatraz belongs to.\u003c/p>\n\u003cp>The letter said: \"Those on Alcatraz say they speak for all Indian people everywhere, but they do not... There is not one Ohlone Indian among those now on Alcatraz island.\"\u003c/p>\n\u003cp>Sayers-Roods said that although she supports the occupation herself, she chose to read the letter to honor the history and acknowledge differing perspectives.\u003c/p>\n\u003cp>\"I will do as much as I can for as long as I can, whenever I can and wherever I can, to honor truth in history and to be a good ancestor-in-training,\" said Sayers-Roods.\u003c/p>\n\u003cfigure id=\"attachment_11788378\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788378\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanyon Sayers-Roods (Ohlone/Chumash) speaks during the Red Power exhibit at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The 19-month exhibition on Alcatraz mirrors the length of time the island was occupied by Native Americans in 1969.",
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"title": "PHOTOS: Alcatraz Occupation to Dedication, Different Time ... Same Place | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This month marks the 50th \u003ca href=\"https://www.kqed.org/arts/13870041/alcatraz-occupation-50\" target=\"_blank\" rel=\"noopener noreferrer\">anniversary of the occupation\u003c/a> of Alcatraz, when a group of Native Americans landed on the San Francisco Bay island, launching a 19-month occupation based on an established legal principle of reclaiming abandoned federal lands for Native use.\u003c/p>\n\u003cp>Now, for the next 19 months — the same amount of time that the Indians of All Tribes called the island home — an exhibition in the New Industries Building on that occupation, titled \"\u003ca href=\"https://www.nps.gov/goga/red-power-on-alcatraz.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Red Power on Alcatraz\u003c/a>: Perspectives 50 Years Later,\" will be open to the public.\u003c/p>\n\u003cp>But the cliffside building was more than a gallery in recent days. It was a site of reunion, reflection and celebration.\u003c/p>\n\u003cp>The events commemorating the occupation on Saturday included an opening prayer and dedication to the exhibit by Geneva Seaboy, an original occupier. She thanked the National Park Service, which she called \"instrumental in putting the exhibit together.\"\u003c/p>\n\u003cfigure id=\"attachment_11788400\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11788400 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elaine Duncan (left) and Geneva Seaboy (seated) watch a slideshow of photos taken by Brooks Townes, a sailor who brought the first organizers to the island and also was one of the first to photograph the occupation. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788375\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788375\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A teepee erected in the New Industries Building for the Red Power exhibition. Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exhibitors Ilka Hartmann, Stephen Shames and Kent Blansett were present for the display to answer questions. Blansett and Dr. LaNada War Jack, another original occupier, gave presentations.\u003c/p>\n\u003cfigure id=\"attachment_11788423\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11788423 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kent Blansett, an associate professor of history and Native American Studies at the University of Nebraska at Omaha and a descendant of Cherokee, Creek, Choctaw, Shawnee and Potawatomi, speaks at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blansett's display, \"Not Your Indians Anymore,\" features ephemera, original artifacts and rare media from his personal collection.\u003c/p>\n\u003cfigure id=\"attachment_11788365\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11788365 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ray St. Clair (Whitehawk) of White Earth, Minnesota, Ojibwe/Eagle Clan, wrapped in his Nation's flag, watches a video from Kent Blansett's display at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788374\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788374\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An original poster made by artist Joseph \"Indian Joe\" Morris (Blackfeet) featured at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788379\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788379\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ilka Hartmann sitting in front of one of her photographs at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788373\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788373\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors look at large photographs taken by Ilka Hartmann at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Leach, who was the first to set foot on the island as an occupier, brought his son, Dana (Joe) Leach, to Alcatraz for the first time for the anniversary.\u003c/p>\n\u003cp>\"I never came here before because I couldn't afford it,\" Joe said.\u003c/p>\n\u003cp>Some photos of Joe's grandmother, Stella Means, who was a nurse on the island during the occupation, are in the show.\u003c/p>\n\u003cfigure id=\"attachment_11788372\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788372\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Leach (Colville/Sioux) of Nespelem, poses in cell 13 in cell block A in Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Toward the end of the event, Mutsun-Ohlone educator, singer and activist Kanyon Sayers-Roods read a letter written by her Ohlone relatives, whose ancestral land Alcatraz belongs to.\u003c/p>\n\u003cp>The letter said: \"Those on Alcatraz say they speak for all Indian people everywhere, but they do not... There is not one Ohlone Indian among those now on Alcatraz island.\"\u003c/p>\n\u003cp>Sayers-Roods said that although she supports the occupation herself, she chose to read the letter to honor the history and acknowledge differing perspectives.\u003c/p>\n\u003cp>\"I will do as much as I can for as long as I can, whenever I can and wherever I can, to honor truth in history and to be a good ancestor-in-training,\" said Sayers-Roods.\u003c/p>\n\u003cfigure id=\"attachment_11788378\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788378\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanyon Sayers-Roods (Ohlone/Chumash) speaks during the Red Power exhibit at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Democratic Debate and Second Week of Impeachment Hearings\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">On Wednesday, 10 candidates faced off for a Democratic presidential debate held in Atlanta. Reflecting his surge in the polls, South Bend Mayor Pete Buttigieg came under fire for his political inexperience, while California Sen. Kamala Harris tried to regain momentum in her flagging campaign. Meanwhile, on Capitol Hill, House Democrats heard from nine witnesses this week in their impeachment investigation of President Trump. Ambassador to the European Union Gordon Sondland and former White House adviser Fiona Hill were among those who testified. Sondland said that there was, in fact, a quid pro quo for the release of military aid to Ukraine, while Hill characterized the pressure campaign as a “domestic political errand” being run by Sondland and other White House officials.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Joe Garofoli, senior political writer, San Francisco Chronicle\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Aimee Allison, founder and president, She the People\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Latest PG&E Power Shutoff\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">On Wednesday, utility giant PG&E began shutting off power to customers in parts of 11 counties in Northern California, including Napa and Sonoma. PG&E had earlier warned that the outages could affect 300,000 customers, but changing weather conditions ultimately left only about 50,000 customers without power this week. It’s the second consecutive month that PG&E has preemptively cut off power to avoid sparking a wildfire with its equipment during dry and gusty winds. On Monday, lawmakers in Sacramento called executives from the state’s three largest investor-owned utilities, including PG&E, to testify about the impact from last month’s power outages. At the hearing, PG&E CEO Bill Johnson said the shutoffs are “not a sustainable solution” to the threat of wildfires, which have become more intense and deadly in recent years. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Dan Brekke, KQED reporter and editor\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Alcatraz Occupation Anniversary\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Wednesday marked the 50th anniversary of the occupation of Alcatraz Island by Native American students and community leaders. Calling themselves the “Indians of All Tribes,” the group of 89 activists took over the former penitentiary to protest unjust federal policies against Native Americans, including relocation and termination of sovereign tribal rights. The occupation ended when armed federal marshals raided the island 19 months later in June 1971. Today, a new generation of activists is commemorating this historic takeover and affirming why, in the words of one of the occupation’s leaders, Alcatraz is an idea, not an island.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Eloy Martinez, Native American activist \u003c/span>\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Democratic Debate and Second Week of Impeachment Hearings\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">On Wednesday, 10 candidates faced off for a Democratic presidential debate held in Atlanta. Reflecting his surge in the polls, South Bend Mayor Pete Buttigieg came under fire for his political inexperience, while California Sen. Kamala Harris tried to regain momentum in her flagging campaign. Meanwhile, on Capitol Hill, House Democrats heard from nine witnesses this week in their impeachment investigation of President Trump. Ambassador to the European Union Gordon Sondland and former White House adviser Fiona Hill were among those who testified. Sondland said that there was, in fact, a quid pro quo for the release of military aid to Ukraine, while Hill characterized the pressure campaign as a “domestic political errand” being run by Sondland and other White House officials.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Joe Garofoli, senior political writer, San Francisco Chronicle\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Aimee Allison, founder and president, She the People\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Latest PG&E Power Shutoff\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">On Wednesday, utility giant PG&E began shutting off power to customers in parts of 11 counties in Northern California, including Napa and Sonoma. PG&E had earlier warned that the outages could affect 300,000 customers, but changing weather conditions ultimately left only about 50,000 customers without power this week. It’s the second consecutive month that PG&E has preemptively cut off power to avoid sparking a wildfire with its equipment during dry and gusty winds. On Monday, lawmakers in Sacramento called executives from the state’s three largest investor-owned utilities, including PG&E, to testify about the impact from last month’s power outages. At the hearing, PG&E CEO Bill Johnson said the shutoffs are “not a sustainable solution” to the threat of wildfires, which have become more intense and deadly in recent years. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Dan Brekke, KQED reporter and editor\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Alcatraz Occupation Anniversary\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Wednesday marked the 50th anniversary of the occupation of Alcatraz Island by Native American students and community leaders. Calling themselves the “Indians of All Tribes,” the group of 89 activists took over the former penitentiary to protest unjust federal policies against Native Americans, including relocation and termination of sovereign tribal rights. The occupation ended when armed federal marshals raided the island 19 months later in June 1971. Today, a new generation of activists is commemorating this historic takeover and affirming why, in the words of one of the occupation’s leaders, Alcatraz is an idea, not an island.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Students Honor Their Heritage During Día de los Muertos in SF's Mission District",
"title": "Students Honor Their Heritage During Día de los Muertos in SF's Mission District",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Rebeca Flores walked through the hallways of the school to the beat of her \u003cem>ayoyotes — \u003c/em>a percussion instrument made of hard shells \u003cem>—\u003c/em> with her bright orange Aztec regalia and a \u003cem>copili\u003c/em> headdress. Flores, the family liaison at John O'Connell High School in San Francisco's Mission District, led the \u003cem>Danza Azteca\u003c/em> at the Latinx Heritage assembly.\u003c/p>\n\u003cp>[aside postID=\"news_11784055\" label=\"\"]\u003c/p>\n\u003cp>On Friday, John O'Connell High School students celebrated their Latinx heritage during \u003cspan style=\"font-weight: 400\">Día\u003c/span> de los Muertos at an event coordinated by the Sueño Latinx student club. The assembly showcased Flores' dance group performing traditional Mexican dances.\u003c/p>\n\u003cfigure id=\"attachment_11784504\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11784504 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leeza Lopez (front) and Alejandra Gutierrez (back) dancing Danza Azteca at John O'Connell High School on Nov. 1. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is a day when the ancestors come closest to our realm. It is a time to acknowledge them, to commune with them, sing songs to them, offer them food,\" Flores said. \"We offer them our prayer through dance. We stay all night and then we dance in sunrise. That is our offering for them taking care of us.”\u003c/p>\n\u003cfigure id=\"attachment_11784500\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784500\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Rebeca Flores, Leesa X. Lopez and Angelica Gutierrez pose at John O-Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Day of the Dead is an\u003ca href=\"https://www.npr.org/sections/thesalt/2012/11/01/163549325/day-of-the-dead-decoded-a-joyful-celebration-of-life-and-food\"> Aztec\u003c/a> tradition that focused on celebrating life instead of mourning death. According to the Aztecs, this holiday is an opportunity from those who reside in the afterlife to come back and visit the people they left behind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the holiday, people \u003ca href=\"https://www.npr.org/2017/11/02/561527322/mexicos-celebrated-d-a-de-los-muertos-evolves-in-the-u-s\">celebrate\u003c/a> and give \u003cem>ofrendas\u003c/em>, or offerings, to those who have passed — including family, friends or even artists that have stayed in the memory of those who loved them.\u003c/p>\n\u003cfigure id=\"attachment_11784519\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784519\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rebeca Flores performs the music for the Danza Azteca, a native Mexican dance. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11784547\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784547\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers wear ayoyotes, an Aztec percussion instrument wore in the ankles. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It is a day to celebrate life with them [the ancestors] and also to remember that death is not an ending it is a transition,\" \u003cspan style=\"font-weight: 400\">said Leeza Lopez, a community health outreach worker at Thurgood Marshall High School and member of Flores' dance group.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11784487\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784487\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dia de los Muertos Altar in John O'Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This celebration \u003ca href=\"https://www.npr.org/sections/thesalt/2012/11/01/163549325/day-of-the-dead-decoded-a-joyful-celebration-of-life-and-food\">lasts\u003c/a> for two days: On Nov. 1, people remember the youth, and the next day they celebrate elders who passed away. While some materials change depending on who makes the altar, all of them have \u003cem>veladoras \u003c/em>(candles), \u003cem>calaveras de azúcar \u003c/em>(sugar skulls), \u003cem>papel picado \u003c/em>(pecked paper), \u003cem>pan de muerto \u003c/em>(bread) and \u003cem>cempasúchil \u003c/em>flowers.\u003c/p>\n\u003cfigure id=\"attachment_11784490\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784490\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Altar for Dia de los Muertos at John O'Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The day of the dead is when you bring all your memories of the people that passed away, even though it is sad how they died or how much you miss them,\" said Sissy Daniela Gomez, a Honduran-American student and president of Sueño Latinx club. \"It just brings memories and you feel like that person is next to you all the time, you feel their presence.”\u003c/p>\n\u003cp>Emely Urbina, Vice president of Sueño Latinx club, also performed a poem titled \"Los Muertos,\" or \"The Dead.\" She said that for her, the Day of the Dead is a time to get closer to our past.\u003c/p>\n\u003cfigure id=\"attachment_11784526\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11784526 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emely Urbina performs her poem at the Day of the Dead assembly at John O'Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cspan style=\"font-weight: 400\">Día\u003c/span> de los Muertos altars, people often add an object that signifies something that the person loved to do. For Toby Blanco-Arevalo, a student at John O'Connell high school, searching for this item is his favorite part of the celebration.\u003c/p>\n\u003cp>\"My grandpa was a carpenter, so he really liked building things,\" said Blanco-Arevalo. \"My grandma had one of his old tools, so we got it and we put it in the altar.\"\u003c/p>\n\u003cp>For others like Karina Peña, a junior student at John O'Connell, it's a holiday that brings her family together to paint their faces as \u003cem>calaveras\u003c/em> (skulls), while they also celebrate the lives of her aunt and grandmother.\u003c/p>\n\u003cfigure id=\"attachment_11784507\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784507\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karina Peña, student at John O'Connell High School, in front of the school's altar for Día de los Muertos. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leslie De Haro — an 11th and 12th grade counselor and advisor of Sueño Latinx club — wants her students to remember their Latino history and traditions even when they live in the United States.\u003c/p>\n\u003cfigure id=\"attachment_11784508\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784508\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leslie De Haro, school counselor and Sueño Latinx club advisor at John O'Connell high school. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De Haro helped found the Sueño Latinx club when she started working at John O'Connell High School five years ago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I want my students to remember their ‘why,' a lot of the times our 'why' is our family,\" De Haro said. On Día de los Muertos, she celebrates the life of her dad who passed away when she was a teenager, but who continues to motivate her\u003c/span>\u003cspan style=\"font-weight: 400\">. \"I\u003c/span>\u003cspan style=\"font-weight: 400\">t really hurts when they are no longer with us, but [we're] remembering that they are in us, that we have a purpose and we have to continue going.”\u003c/span>\u003c/p>\n\n",
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"excerpt": "John O'Connell High School students celebrated Día de los Muertos on Friday. “I want my students to remember their 'why,' a lot of the times our 'why' is our family,\" said Leslie De Haro, a school counselor.",
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"description": "John O'Connell High School students celebrated Día de los Muertos on Friday. “I want my students to remember their 'why,' a lot of the times our 'why' is our family," said Leslie De Haro, a school counselor.",
"title": "Students Honor Their Heritage During Día de los Muertos in SF's Mission District | KQED",
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"headline": "Students Honor Their Heritage During Día de los Muertos in SF's Mission District",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rebeca Flores walked through the hallways of the school to the beat of her \u003cem>ayoyotes — \u003c/em>a percussion instrument made of hard shells \u003cem>—\u003c/em> with her bright orange Aztec regalia and a \u003cem>copili\u003c/em> headdress. Flores, the family liaison at John O'Connell High School in San Francisco's Mission District, led the \u003cem>Danza Azteca\u003c/em> at the Latinx Heritage assembly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Friday, John O'Connell High School students celebrated their Latinx heritage during \u003cspan style=\"font-weight: 400\">Día\u003c/span> de los Muertos at an event coordinated by the Sueño Latinx student club. The assembly showcased Flores' dance group performing traditional Mexican dances.\u003c/p>\n\u003cfigure id=\"attachment_11784504\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11784504 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leeza Lopez (front) and Alejandra Gutierrez (back) dancing Danza Azteca at John O'Connell High School on Nov. 1. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is a day when the ancestors come closest to our realm. It is a time to acknowledge them, to commune with them, sing songs to them, offer them food,\" Flores said. \"We offer them our prayer through dance. We stay all night and then we dance in sunrise. That is our offering for them taking care of us.”\u003c/p>\n\u003cfigure id=\"attachment_11784500\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784500\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Rebeca Flores, Leesa X. Lopez and Angelica Gutierrez pose at John O-Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Day of the Dead is an\u003ca href=\"https://www.npr.org/sections/thesalt/2012/11/01/163549325/day-of-the-dead-decoded-a-joyful-celebration-of-life-and-food\"> Aztec\u003c/a> tradition that focused on celebrating life instead of mourning death. According to the Aztecs, this holiday is an opportunity from those who reside in the afterlife to come back and visit the people they left behind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the holiday, people \u003ca href=\"https://www.npr.org/2017/11/02/561527322/mexicos-celebrated-d-a-de-los-muertos-evolves-in-the-u-s\">celebrate\u003c/a> and give \u003cem>ofrendas\u003c/em>, or offerings, to those who have passed — including family, friends or even artists that have stayed in the memory of those who loved them.\u003c/p>\n\u003cfigure id=\"attachment_11784519\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784519\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rebeca Flores performs the music for the Danza Azteca, a native Mexican dance. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11784547\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784547\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers wear ayoyotes, an Aztec percussion instrument wore in the ankles. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It is a day to celebrate life with them [the ancestors] and also to remember that death is not an ending it is a transition,\" \u003cspan style=\"font-weight: 400\">said Leeza Lopez, a community health outreach worker at Thurgood Marshall High School and member of Flores' dance group.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11784487\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784487\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dia de los Muertos Altar in John O'Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This celebration \u003ca href=\"https://www.npr.org/sections/thesalt/2012/11/01/163549325/day-of-the-dead-decoded-a-joyful-celebration-of-life-and-food\">lasts\u003c/a> for two days: On Nov. 1, people remember the youth, and the next day they celebrate elders who passed away. While some materials change depending on who makes the altar, all of them have \u003cem>veladoras \u003c/em>(candles), \u003cem>calaveras de azúcar \u003c/em>(sugar skulls), \u003cem>papel picado \u003c/em>(pecked paper), \u003cem>pan de muerto \u003c/em>(bread) and \u003cem>cempasúchil \u003c/em>flowers.\u003c/p>\n\u003cfigure id=\"attachment_11784490\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784490\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Altar for Dia de los Muertos at John O'Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The day of the dead is when you bring all your memories of the people that passed away, even though it is sad how they died or how much you miss them,\" said Sissy Daniela Gomez, a Honduran-American student and president of Sueño Latinx club. \"It just brings memories and you feel like that person is next to you all the time, you feel their presence.”\u003c/p>\n\u003cp>Emely Urbina, Vice president of Sueño Latinx club, also performed a poem titled \"Los Muertos,\" or \"The Dead.\" She said that for her, the Day of the Dead is a time to get closer to our past.\u003c/p>\n\u003cfigure id=\"attachment_11784526\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11784526 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emely Urbina performs her poem at the Day of the Dead assembly at John O'Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cspan style=\"font-weight: 400\">Día\u003c/span> de los Muertos altars, people often add an object that signifies something that the person loved to do. For Toby Blanco-Arevalo, a student at John O'Connell high school, searching for this item is his favorite part of the celebration.\u003c/p>\n\u003cp>\"My grandpa was a carpenter, so he really liked building things,\" said Blanco-Arevalo. \"My grandma had one of his old tools, so we got it and we put it in the altar.\"\u003c/p>\n\u003cp>For others like Karina Peña, a junior student at John O'Connell, it's a holiday that brings her family together to paint their faces as \u003cem>calaveras\u003c/em> (skulls), while they also celebrate the lives of her aunt and grandmother.\u003c/p>\n\u003cfigure id=\"attachment_11784507\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784507\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karina Peña, student at John O'Connell High School, in front of the school's altar for Día de los Muertos. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leslie De Haro — an 11th and 12th grade counselor and advisor of Sueño Latinx club — wants her students to remember their Latino history and traditions even when they live in the United States.\u003c/p>\n\u003cfigure id=\"attachment_11784508\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784508\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leslie De Haro, school counselor and Sueño Latinx club advisor at John O'Connell high school. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De Haro helped found the Sueño Latinx club when she started working at John O'Connell High School five years ago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I want my students to remember their ‘why,' a lot of the times our 'why' is our family,\" De Haro said. On Día de los Muertos, she celebrates the life of her dad who passed away when she was a teenager, but who continues to motivate her\u003c/span>\u003cspan style=\"font-weight: 400\">. \"I\u003c/span>\u003cspan style=\"font-weight: 400\">t really hurts when they are no longer with us, but [we're] remembering that they are in us, that we have a purpose and we have to continue going.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"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",
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"masters-of-scale": {
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"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.",
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"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?",
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"order": 11
},
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"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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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