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"disqusTitle": "The Art of Basketball: Warriors' Chase Center Embraces Artists",
"title": "The Art of Basketball: Warriors' Chase Center Embraces Artists",
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"content": "\u003cp>The brand of basketball practiced by the Golden State Warriors has often been described as a kind of artistry, and the team's new Chase Center in San Francisco seems to embrace the metaphor with a wide array of art inside and out.\u003c/p>\n\u003cp>The jaw-dropping focal point hanging above center court isn't technically a piece of art, but with nearly 25 million pixels and 75 million LEDs, the massive Samsung scoreboard will project artistic images and videos during Warriors' games and concerts.\u003c/p>\n\u003cfigure id=\"attachment_11770554\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770554\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38800_steph-lebron-qut-800x533.jpg\" alt=\"Shawn Bennett, head of the Warriors' "game experience team," called the scoreboard "the centerpiece in our elevated entertainment package."\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38800_steph-lebron-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38800_steph-lebron-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38800_steph-lebron-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38800_steph-lebron-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38800_steph-lebron-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shawn Bennett, head of the Warriors' \"game experience team,\" called the scoreboard \"the centerpiece in our elevated entertainment package.\" \u003ccite>(Scott Shafer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shawn Bennett, head of the Warriors' \"game experience team\" who held a similar gig at Madison Square Garden, called the scoreboard \"the centerpiece in our elevated entertainment package.\"\u003c/p>\n\u003cfigure id=\"attachment_11770555\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770555\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38807_from-above1-qut-800x533.jpg\" alt=\"Inside the Warriors' Chase Center\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38807_from-above1-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38807_from-above1-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38807_from-above1-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38807_from-above1-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38807_from-above1-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Warriors' Chase Center. \u003ccite>(Scott Shafer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside label=\"RELATED COVERAGE\" tag=\"golden-state-warriors\"]Warriors team president Rick Welts, who presided over the media unveiling of the nearly finished arena this week, has spent the last three years or more focusing on how to maximize the team's new state-of-the-art facility. It sits on 11 acres of prime real estate that will eventually include a 5.5-acre park, some 20 restaurants and retail spaces outside the arena, two office buildings and a 10,000-square-foot Warriors store.\u003c/p>\n\u003cp>The team will play more than 40 regular and preseason games there each year, plus any postseason playoff games. In addition to that, a star-studded concert lineup has already been booked, including Elton John, Janet Jackson, Cher and Mumford & Sons.\u003c/p>\n\u003cfigure id=\"attachment_11770553\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770553\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38799_welts-qut-800x533.jpg\" alt=\"Warriors President Rick Welts, left, is charged with maximizing value from the teams's new entertainment venue.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38799_welts-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38799_welts-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38799_welts-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38799_welts-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38799_welts-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warriors President Rick Welts, left, is charged with maximizing value from the team's new entertainment venue. \u003ccite>(John Kennedy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The $1.4 billion Chase Center was designed by an architectural team that included people from Gensler, Manica Architecture and Kendall/Heaton Associates. Inside and out, it incorporates eye-catching art, including a hanging mobile by Alexander Calder, on loan from the San Francisco Museum of Modern Art, which visitors will see as they pass through the west entrance off Third Street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bayside entrance will feature a piece titled \"Seeing Spheres\" by international artist Olafur Eliasson. It consists of five 15½-feet-tall steel spheres. The reflective surfaces will create the kind of images seen at Chicago's iconic \"Cloud Gate\" sculpture, affectionately known as \"The Bean.\"\u003c/p>\n\u003cfigure id=\"attachment_11770556\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770556\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-800x600.jpg\" alt='The bay-side entrance will feature a piece titled \"Seeing Spheres\" by international artist Olafur Eliasson.' width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The bayside entrance will feature a piece titled \"Seeing Spheres\" by international artist Olafur Eliasson. \u003ccite>(Scott Shafer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also on the east side of Chase Center is a mosaic created by the Precita Eyes Muralists from San Francisco's Mission District.\u003c/p>\n\u003cfigure id=\"attachment_11770557\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770557\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-800x600.jpg\" alt=\"A mosaic created by the Precita Eyes Muralists from San Francisco's Mission District.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mosaic created by the Precita Eyes Muralists from San Francisco's Mission District. \u003ccite>(Scott Shafer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's one of dozens of pieces resulting from the Warriors' \"Call for Artists\" program.\u003c/p>\n\u003cfigure id=\"attachment_11770561\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770561\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-800x600.jpg\" alt=\"Inside the Chase Center\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Chase Center \u003ccite>(Scott Shafer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monday afternoon another artist, Guillaume Ollivier from Oakland, was lying on his stomach inside Chase Center painting his signature at the bottom of a mural he created with San Francisco artist Chad Hasegawa, a reminder that Chase Center is still something of a work in progress.\u003c/p>\n\u003cfigure id=\"attachment_11770552\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770552\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38795_artist-qut-800x600.jpg\" alt=\"Oakland artist Guillaume Ollivier\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland artist Guillaume Ollivier \u003ccite>(Scott Shafer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the upper hallways of Chase Center are iconic framed photos from Warriors teams past and present, including a mesmerizing San Francisco Chronicle photo of Stephen Curry holding the Larry O'Brien trophy during the team's 2018 NBA Championship celebration parade in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_11770558\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770558\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38810_IMG_3741-edited-qut-800x592.jpg\" alt=\"A San Francisco Chronicle photo shows Stephen Curry holding the Larry O'Brien trophy during the team's 2018 NBA Championship celebration parade in Oakland.\" width=\"800\" height=\"592\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38810_IMG_3741-edited-qut-800x592.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38810_IMG_3741-edited-qut-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38810_IMG_3741-edited-qut-1020x754.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38810_IMG_3741-edited-qut-1200x888.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38810_IMG_3741-edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A San Francisco Chronicle photo shows Stephen Curry holding the Larry O'Brien Trophy during the team's 2018 NBA championship celebration parade in Oakland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>After an injury-plagued season in which the Warriors lost to Toronto in the NBA Finals in June, fans are hoping the artistry continues on the court once the team's first season at Chase Center begins in October.\u003c/p>\n\n",
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"excerpt": "The new facility features transparent walls, sweeping architecture, bold art and massive high-resolution screens to lure fans and concertgoers alike.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The brand of basketball practiced by the Golden State Warriors has often been described as a kind of artistry, and the team's new Chase Center in San Francisco seems to embrace the metaphor with a wide array of art inside and out.\u003c/p>\n\u003cp>The jaw-dropping focal point hanging above center court isn't technically a piece of art, but with nearly 25 million pixels and 75 million LEDs, the massive Samsung scoreboard will project artistic images and videos during Warriors' games and concerts.\u003c/p>\n\u003cfigure id=\"attachment_11770554\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770554\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38800_steph-lebron-qut-800x533.jpg\" alt=\"Shawn Bennett, head of the Warriors' "game experience team," called the scoreboard "the centerpiece in our elevated entertainment package."\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38800_steph-lebron-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38800_steph-lebron-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38800_steph-lebron-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38800_steph-lebron-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38800_steph-lebron-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shawn Bennett, head of the Warriors' \"game experience team,\" called the scoreboard \"the centerpiece in our elevated entertainment package.\" \u003ccite>(Scott Shafer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shawn Bennett, head of the Warriors' \"game experience team\" who held a similar gig at Madison Square Garden, called the scoreboard \"the centerpiece in our elevated entertainment package.\"\u003c/p>\n\u003cfigure id=\"attachment_11770555\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770555\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38807_from-above1-qut-800x533.jpg\" alt=\"Inside the Warriors' Chase Center\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38807_from-above1-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38807_from-above1-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38807_from-above1-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38807_from-above1-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38807_from-above1-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Warriors' Chase Center. \u003ccite>(Scott Shafer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Warriors team president Rick Welts, who presided over the media unveiling of the nearly finished arena this week, has spent the last three years or more focusing on how to maximize the team's new state-of-the-art facility. It sits on 11 acres of prime real estate that will eventually include a 5.5-acre park, some 20 restaurants and retail spaces outside the arena, two office buildings and a 10,000-square-foot Warriors store.\u003c/p>\n\u003cp>The team will play more than 40 regular and preseason games there each year, plus any postseason playoff games. In addition to that, a star-studded concert lineup has already been booked, including Elton John, Janet Jackson, Cher and Mumford & Sons.\u003c/p>\n\u003cfigure id=\"attachment_11770553\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770553\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38799_welts-qut-800x533.jpg\" alt=\"Warriors President Rick Welts, left, is charged with maximizing value from the teams's new entertainment venue.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38799_welts-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38799_welts-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38799_welts-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38799_welts-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38799_welts-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warriors President Rick Welts, left, is charged with maximizing value from the team's new entertainment venue. \u003ccite>(John Kennedy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The $1.4 billion Chase Center was designed by an architectural team that included people from Gensler, Manica Architecture and Kendall/Heaton Associates. Inside and out, it incorporates eye-catching art, including a hanging mobile by Alexander Calder, on loan from the San Francisco Museum of Modern Art, which visitors will see as they pass through the west entrance off Third Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bayside entrance will feature a piece titled \"Seeing Spheres\" by international artist Olafur Eliasson. It consists of five 15½-feet-tall steel spheres. The reflective surfaces will create the kind of images seen at Chicago's iconic \"Cloud Gate\" sculpture, affectionately known as \"The Bean.\"\u003c/p>\n\u003cfigure id=\"attachment_11770556\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770556\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-800x600.jpg\" alt='The bay-side entrance will feature a piece titled \"Seeing Spheres\" by international artist Olafur Eliasson.' width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38808_IMG_3762-edited-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The bayside entrance will feature a piece titled \"Seeing Spheres\" by international artist Olafur Eliasson. \u003ccite>(Scott Shafer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also on the east side of Chase Center is a mosaic created by the Precita Eyes Muralists from San Francisco's Mission District.\u003c/p>\n\u003cfigure id=\"attachment_11770557\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770557\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-800x600.jpg\" alt=\"A mosaic created by the Precita Eyes Muralists from San Francisco's Mission District.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38809_IMG_3759-edited-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mosaic created by the Precita Eyes Muralists from San Francisco's Mission District. \u003ccite>(Scott Shafer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's one of dozens of pieces resulting from the Warriors' \"Call for Artists\" program.\u003c/p>\n\u003cfigure id=\"attachment_11770561\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770561\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-800x600.jpg\" alt=\"Inside the Chase Center\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38811_IMG_3673-edited-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Chase Center \u003ccite>(Scott Shafer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monday afternoon another artist, Guillaume Ollivier from Oakland, was lying on his stomach inside Chase Center painting his signature at the bottom of a mural he created with San Francisco artist Chad Hasegawa, a reminder that Chase Center is still something of a work in progress.\u003c/p>\n\u003cfigure id=\"attachment_11770552\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770552\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38795_artist-qut-800x600.jpg\" alt=\"Oakland artist Guillaume Ollivier\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38795_artist-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland artist Guillaume Ollivier \u003ccite>(Scott Shafer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the upper hallways of Chase Center are iconic framed photos from Warriors teams past and present, including a mesmerizing San Francisco Chronicle photo of Stephen Curry holding the Larry O'Brien trophy during the team's 2018 NBA Championship celebration parade in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_11770558\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11770558\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/RS38810_IMG_3741-edited-qut-800x592.jpg\" alt=\"A San Francisco Chronicle photo shows Stephen Curry holding the Larry O'Brien trophy during the team's 2018 NBA Championship celebration parade in Oakland.\" width=\"800\" height=\"592\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38810_IMG_3741-edited-qut-800x592.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38810_IMG_3741-edited-qut-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38810_IMG_3741-edited-qut-1020x754.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38810_IMG_3741-edited-qut-1200x888.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/RS38810_IMG_3741-edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A San Francisco Chronicle photo shows Stephen Curry holding the Larry O'Brien Trophy during the team's 2018 NBA championship celebration parade in Oakland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>After an injury-plagued season in which the Warriors lost to Toronto in the NBA Finals in June, fans are hoping the artistry continues on the court once the team's first season at Chase Center begins in October.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Police Chief Apologizes to LGBTQ Community for 'Harm That Was Caused'",
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"content": "\u003cp>San Francisco’s police chief apologized Monday for the way the department historically treated LGBTQ people and for “the harm that was caused.”\u003c/p>\n\u003cp>“Unless the wrongs of the past are acknowledged and dealt with appropriately, our past will continue to put a stain on the present and on our future,” Chief William Scott said during a “Reflection and Reconciliation Session” aimed at increasing trust between the LGBTQ community and police.\u003c/p>\n\u003cp>The forum was hosted by the San Francisco Police Department and GLIDE Memorial Church, which also provides a number of social services and programs.\u003c/p>\n\u003cp>https://twitter.com/GLIDEChurch/status/1166185555522015234\u003c/p>\n\u003cp>A police department release said input from the forum and other planned “listening sessions” will move the department “forward in ways that emphasize respect, safety and diversity.”\u003c/p>\n\u003cp>[aside postID=\"arts_11838357\" hero=\"https://ww2.kqed.org/wp-content/uploads/sites/2/2016/07/Drag-demonstrationCOVER-1180x664.jpg\"]\u003c/p>\n\u003cp>The event also marked the 53rd anniversary of \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\" target=\"_blank\" rel=\"noopener\">the riot at Compton’s Cafeteria in the Tenderloin\u003c/a> when police tried to arrest a transgender woman and were met with resistance by a community tired of harassment. The 1966 confrontation was three years before New York’s famous Stonewall riots.\u003c/p>\n\u003cp>Historically, police were also known for beating gay men in the Castro district and arresting transgender women simply for wearing dresses.\u003c/p>\n\u003cp>“I and the men and women of this police department are truly sorry,” Scott told the audience at the GLIDE Memorial Church. “We are sorry for what happened. We are sorry for our role in it. And we are sorry for the harm that it caused.”\u003c/p>\n\u003cp>https://twitter.com/LeeHepner/status/1166214265696423941\u003c/p>\n\u003cp>Scott agreed to meet with LGBTQ community members after a Pride Parade march in July was disrupted by \u003ca href=\"https://www.kqed.org/news/11758329/sf-pride-parade-briefly-halted-by-anti-police-anti-corporate-protest\" target=\"_blank\" rel=\"noopener\">protesters opposed to a police and corporate presence\u003c/a>. According to authorities, about 40 people interrupted the parade for around an hour and two people were arrested after protesters broke down barricades and threw water bottles at police.\u003c/p>\n\u003cp>On Monday night, some people at the session asked whether the police department would agree not to have uniformed officers march in the Pride Parade.\u003c/p>\n\u003cp>But Cmdr. Teresa Ewins, a lesbian, said it was important “for kids to see us,” to show the LGBTQ presence in the department, the San Francisco Examiner \u003ca href=\"https://www.sfexaminer.com/news/sf-police-chief-apologizes-for-historic-abuse-against-transgender-community/\">reported.\u003c/a>\u003c/p>\n\u003cp>[aside postID=\"news_11758329\"]“Many of us joined to make a difference,” she said. “It’s a special day for me as well as everyone in the department who is LGBT.”\u003c/p>\n\u003cp>Some speakers also said more work needs to be done to reconcile police and the LGBTQ community.\u003c/p>\n\u003cp>Anubis Daugherty, 25, said he was homeless for six years and police sweeps of homeless communities disproportionately affected LGBTQ people who are a significant portion of homeless and impoverished people in the Tenderloin, \u003ca href=\"https://www.sfexaminer.com/news/sf-police-chief-apologizes-for-historic-abuse-against-transgender-community/\" target=\"_blank\" rel=\"noopener\">the Examiner reported\u003c/a>.\u003c/p>\n\u003cp>“I was born here, I was raised here,” Daugherty said. “If you want to truly apologize for something you have to stop what you’re doing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "On the 53rd anniversary of the riot at Compton's Cafeteria in the Tenderloin, SFPD Chief William Scott apologized Monday during a listening session aimed at increasing trust between the LGBTQ community and police.",
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"content": "\u003cp>Alameda County Superior Court Judge Trina Thompson on Monday dismissed three jurors in the criminal trial of Derick Almena and Max Harris, each charged with 36 counts of involuntary manslaughter in the 2016 Oakland Ghost Ship warehouse fire. \u003c/p>\n\u003cp>The jurors have been replaced with three alternate jurors, and deliberations — which have already gone on for 10 days — must now begin all over again. \u003c/p>\n\u003cp>The development comes more than four months after the trial began.\u003c/p>\n\u003cp>Judge Thompson did not immediately provide a reason for the jurors' replacement. The new jury restarted deliberations Monday afternoon after the announcement. They were told to disregard previous deliberations.\u003c/p>\n\u003cp>Thompson reissued jury instructions, including not to \"interact in any way with a news agency.\"\u003c/p>\n\u003cp>A gag order has also been reinstated in the trial, and the defense and prosecution were forbidden to speaking to the press after court recessed for the day.\u003c/p>\n\u003cp>https://twitter.com/ClydeDon/status/1163577078689619969?s=20\u003c/p>\n\u003cp>The jury is now made up of seven women and five men, whereas the previous jury was made up of nine women and three men.\u003c/p>\n\u003cp>The East Oakland warehouse known as the Ghost Ship caught fire just after 11 p.m. on Dec. 2, 2016, the night of an electronic music party, killing 35 concertgoers and one tenant. \u003c/p>\n\u003cp>[aside label=\"The Ghost Ship Trial\" tag=\"ghost-ship-trial\"]\u003c/p>\n\u003cp>Fire investigators never determined the cause of the blaze.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/news/11763874/ghost-ship-victims-had-no-notice-and-no-exits-prosecutors-repeat-in-closing-arguments\" rel=\"noopener\" target=\"_blank\">prosecution had argued\u003c/a> that the actions of Almena, the Ghost Ship's master tenant, and Harris, who has been described as creative director and second-in-command, amounted to criminal negligence. They argued the warehouse was illegally converted into an unsafe living space with complete disregard for safety, violating nine fire codes.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/news/11764170/ghost-ship-defense-says-many-violations-pre-dated-max-harris-living-at-warehouse\" rel=\"noopener\" target=\"_blank\">defense\u003c/a> pointed to testimony by many former tenants and visitors who said they felt the Ghost Ship was safe.\u003c/p>\n\u003cp>The defense also argued that personnel from several agencies, including Oakland's police and fire departments as well as Child Protective Services, had passed through the warehouse dozens of times in the years leading up to the fire and had never flagged the building, never red-tagged it or issued any eviction notices.\u003c/p>\n\u003cp>The new jury will resume their second day of deliberations. The court has already received six notes from six different jurors, which will be dealt with in court Tuesday morning.\u003c/p>\n\u003cp>\u003cem>KQED's Don Clyde contributed to this report.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alameda County Superior Court Judge Trina Thompson on Monday dismissed three jurors in the criminal trial of Derick Almena and Max Harris, each charged with 36 counts of involuntary manslaughter in the 2016 Oakland Ghost Ship warehouse fire. \u003c/p>\n\u003cp>The jurors have been replaced with three alternate jurors, and deliberations — which have already gone on for 10 days — must now begin all over again. \u003c/p>\n\u003cp>The development comes more than four months after the trial began.\u003c/p>\n\u003cp>Judge Thompson did not immediately provide a reason for the jurors' replacement. The new jury restarted deliberations Monday afternoon after the announcement. They were told to disregard previous deliberations.\u003c/p>\n\u003cp>Thompson reissued jury instructions, including not to \"interact in any way with a news agency.\"\u003c/p>\n\u003cp>A gag order has also been reinstated in the trial, and the defense and prosecution were forbidden to speaking to the press after court recessed for the day.\u003c/p>\u003c/p>\u003c/div>",
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"disqusTitle": "Netflix Curbs Tobacco Use Onscreen, But Not Pot. What's Up With That?",
"title": "Netflix Curbs Tobacco Use Onscreen, But Not Pot. What's Up With That?",
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"content": "\u003cp>When is it wrong to show cigarette smoking on television, but OK to depict people smoking cannabis products, particularly in programming popular among young teenagers?\u003c/p>\n\u003cp>Netflix recently announced it would curb depictions of cigarette smoking in original programming intended for general audiences, after a \u003ca href=\"https://truthinitiative.org/research-resources/tobacco-pop-culture/while-you-were-streaming-smoking-demand\">Truth Initiative study\u003c/a> showed its monster summer hit, \u003cem>Stranger Things, \u003c/em>featured more tobacco use than any other program on streaming, broadcast or cable. There's tobacco in every single episode.\u003c/p>\n\u003cp>Tobacco advertising has been banned on TV and in the movies for decades; when it comes to characters smoking cigarettes onscreen, restrictions are largely self-imposed. The Walt Disney Company is one of the few studios with a comprehensive and public policy about \u003ca href=\"https://www.thewaltdisneycompany.com/wp-content/uploads/Smoking-in-Movies.pdf\">depicting tobacco use in movies\u003c/a>.\u003c/p>\n\u003cp>[aside tag=\"marijuana\" label=\"Coverage of Marijuana in California\"]\u003c/p>\n\u003cp>But what about smoking pot? The Netflix show \u003cem>On My Block\u003c/em> is rated TV-14, for audiences, aged 14 and older — exactly the same rating as \u003cem>Stranger Things\u003c/em>. The very first scene of \u003cem>On My Block\u003c/em>, about high school students in Los Angeles, features kids doing bong hits at a party. There's a loveable, pot-smoking grandma.\u003c/p>\n\u003cp>And the Netflix romantic comedy, \u003cem>Always Be My Maybe\u003c/em> is rated PG-13. One of its main characters smokes weed.\u003c/p>\n\u003cp>This troubles Stanton Glantz, a professor of medicine at the University of California, San Francisco, who for years has studied the cardiovascular effects of tobacco smoke, and the effects of tobacco marketing — direct and indirect.\u003c/p>\n\u003cp>\"Rating a film for 14 year olds that's promoting substance abuse — it's like the peak of risk,\" he says. Glantz says although pot is widely regarded as holistic and harmless, compared to cigarettes, that's not accurate.\u003c/p>\n\u003cp>\"Marijuana is not harmless,\" he says. \"Secondhand marijuana smoke has the same kind of adverse effects on your blood vessels that smoking a cigarette does. Chemically it's not all that different from cigarette smoke, except that the psychoactive agent is different.\"\u003c/p>\n\u003cp>Study after study has shown a correlation between kids' exposure to cigarettes in the media and their later use of tobacco, Glantz says. There aren't as many similar studies about pot, although some have \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3008330/\">begun to emerge\u003c/a>.\u003c/p>\n\u003cp>But as pot legalization gains momentum, using it is becoming normalized in popular culture. A couple of years ago, Netflix showed up at a pop-up event at a West Hollywood dispensary and provided \u003ca href=\"https://www.theguardian.com/tv-and-radio/2017/aug/25/netflix-marijuana-strains-original-shows\">weed varieties based on some of its most popular shows.\u003c/a>\u003c/p>\n\u003cp>These days, cannabis — as opposed to tobacco — can help make a certain kind of company seem cool, says \u003cem>Washington Post\u003c/em> opinion writer Alyssa Rosenberg. \"Marijuana has sort of a better lobbying message right now than tobacco does,\" she observes.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Stanton Glantz, professor of medicine at the University of California, San Francisco']'Netflix ought to be adopting a policy that, you know, is not only based on the bombproof science we have on tobacco, but brings common sense into the discussion for these other exposures.'[/pullquote]\u003c/p>\n\u003cp>But Rosenberg points out that for much of the 20th century, Big Tobacco actively — and successfully — promoted cigarettes in movies and on TV. \"They were planting stories about how Paul Newman was learning to light two cigarettes at a time for a role,\" she says. \"They supplied green rooms [with cigarettes]. They focused on trying to get stars to smoke on-air during tapings of \u003cem>The Merv Griffin Show\u003c/em>. They tried to push fashion editorials to show models smoking.\"\u003c/p>\n\u003cp>So, Rosenberg says, it's perhaps disingenuous for filmmakers or studios to argue, as Netflix does today, that smoking onscreen is an artistic expression when much of it, historically, came out of marketing departments — product placement.\u003c/p>\n\u003cp>Glantz worries that kind of product placement might happen again with weed, once it becomes widely commercialized.\u003c/p>\n\u003cp>\"And Netflix ought to be adopting a policy that, you know, is not only based on the bombproof science we have on tobacco,\" he says, \"but brings common sense into the discussion for these other exposures.\"\u003c/p>\n\u003cp>Of course, Netflix isn't the only company with a role to play here. Other leading streaming companies haven't made public any policies about the onscreen use of tobacco or cannabis.Netflix, Hulu and Amazon did not respond to NPR's requests for comment in regards to such policies.\u003c/p>\n\u003cp>But earlier this month, attorneys general from 43 states and territories \u003ca href=\"https://www.naag.org/assets/redesign/files/2019-08-06%20NAAG%20Letter%20to%20Producers%20--.pdf\">signed a letter sent\u003c/a> to streaming companies, asking for better practices when it comes to showing tobacco use on screen. Some public health experts think pot should be next on the agenda.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">https://www.npr.org\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix+Curbs+Tobacco+Use+Onscreen%2C+But+Not+Pot.+What%27s+Up+With+That%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cdiv>[ad fullwidth]\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When is it wrong to show cigarette smoking on television, but OK to depict people smoking cannabis products, particularly in programming popular among young teenagers?\u003c/p>\n\u003cp>Netflix recently announced it would curb depictions of cigarette smoking in original programming intended for general audiences, after a \u003ca href=\"https://truthinitiative.org/research-resources/tobacco-pop-culture/while-you-were-streaming-smoking-demand\">Truth Initiative study\u003c/a> showed its monster summer hit, \u003cem>Stranger Things, \u003c/em>featured more tobacco use than any other program on streaming, broadcast or cable. There's tobacco in every single episode.\u003c/p>\n\u003cp>Tobacco advertising has been banned on TV and in the movies for decades; when it comes to characters smoking cigarettes onscreen, restrictions are largely self-imposed. The Walt Disney Company is one of the few studios with a comprehensive and public policy about \u003ca href=\"https://www.thewaltdisneycompany.com/wp-content/uploads/Smoking-in-Movies.pdf\">depicting tobacco use in movies\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But what about smoking pot? The Netflix show \u003cem>On My Block\u003c/em> is rated TV-14, for audiences, aged 14 and older — exactly the same rating as \u003cem>Stranger Things\u003c/em>. The very first scene of \u003cem>On My Block\u003c/em>, about high school students in Los Angeles, features kids doing bong hits at a party. There's a loveable, pot-smoking grandma.\u003c/p>\n\u003cp>And the Netflix romantic comedy, \u003cem>Always Be My Maybe\u003c/em> is rated PG-13. One of its main characters smokes weed.\u003c/p>\n\u003cp>This troubles Stanton Glantz, a professor of medicine at the University of California, San Francisco, who for years has studied the cardiovascular effects of tobacco smoke, and the effects of tobacco marketing — direct and indirect.\u003c/p>\n\u003cp>\"Rating a film for 14 year olds that's promoting substance abuse — it's like the peak of risk,\" he says. Glantz says although pot is widely regarded as holistic and harmless, compared to cigarettes, that's not accurate.\u003c/p>\n\u003cp>\"Marijuana is not harmless,\" he says. \"Secondhand marijuana smoke has the same kind of adverse effects on your blood vessels that smoking a cigarette does. Chemically it's not all that different from cigarette smoke, except that the psychoactive agent is different.\"\u003c/p>\n\u003cp>Study after study has shown a correlation between kids' exposure to cigarettes in the media and their later use of tobacco, Glantz says. There aren't as many similar studies about pot, although some have \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3008330/\">begun to emerge\u003c/a>.\u003c/p>\n\u003cp>But as pot legalization gains momentum, using it is becoming normalized in popular culture. A couple of years ago, Netflix showed up at a pop-up event at a West Hollywood dispensary and provided \u003ca href=\"https://www.theguardian.com/tv-and-radio/2017/aug/25/netflix-marijuana-strains-original-shows\">weed varieties based on some of its most popular shows.\u003c/a>\u003c/p>\n\u003cp>These days, cannabis — as opposed to tobacco — can help make a certain kind of company seem cool, says \u003cem>Washington Post\u003c/em> opinion writer Alyssa Rosenberg. \"Marijuana has sort of a better lobbying message right now than tobacco does,\" she observes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Rosenberg points out that for much of the 20th century, Big Tobacco actively — and successfully — promoted cigarettes in movies and on TV. \"They were planting stories about how Paul Newman was learning to light two cigarettes at a time for a role,\" she says. \"They supplied green rooms [with cigarettes]. They focused on trying to get stars to smoke on-air during tapings of \u003cem>The Merv Griffin Show\u003c/em>. They tried to push fashion editorials to show models smoking.\"\u003c/p>\n\u003cp>So, Rosenberg says, it's perhaps disingenuous for filmmakers or studios to argue, as Netflix does today, that smoking onscreen is an artistic expression when much of it, historically, came out of marketing departments — product placement.\u003c/p>\n\u003cp>Glantz worries that kind of product placement might happen again with weed, once it becomes widely commercialized.\u003c/p>\n\u003cp>\"And Netflix ought to be adopting a policy that, you know, is not only based on the bombproof science we have on tobacco,\" he says, \"but brings common sense into the discussion for these other exposures.\"\u003c/p>\n\u003cp>Of course, Netflix isn't the only company with a role to play here. Other leading streaming companies haven't made public any policies about the onscreen use of tobacco or cannabis.Netflix, Hulu and Amazon did not respond to NPR's requests for comment in regards to such policies.\u003c/p>\n\u003cp>But earlier this month, attorneys general from 43 states and territories \u003ca href=\"https://www.naag.org/assets/redesign/files/2019-08-06%20NAAG%20Letter%20to%20Producers%20--.pdf\">signed a letter sent\u003c/a> to streaming companies, asking for better practices when it comes to showing tobacco use on screen. Some public health experts think pot should be next on the agenda.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">https://www.npr.org\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix+Curbs+Tobacco+Use+Onscreen%2C+But+Not+Pot.+What%27s+Up+With+That%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cdiv>\u003c/p>\u003c/div>",
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"disqusTitle": "Gentrification is Changing Iconic Gay Neighborhoods in L.A. and S.F.",
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"content": "\u003cp>Wedged snugly between two of the most popular gay bars on Santa Monica Boulevard is Block Party, the “gayest” store in West Hollywood, selling men’s tank tops, swimwear and short shorts, party-themed cowboy hats and everything Pride from rainbow beanie babies to vivid striped jumpsuits.\u003c/p>\n\u003cp>On this stretch of what is loosely considered Boystown in the historically gay city, these three doors are some of the last gay-owned and gay-oriented businesses after a steady march of mainstream restaurants, bars and other retail have moved in.\u003c/p>\n\u003cp>[aside postID=\"news_11634601\" label=\"Bay Curious: A Changing Castro\" heroLink=\"https://ww2.kqed.org/wp-content/uploads/sites/10/2017/12/iStock-183834678-1180x882.jpg\"]\u003c/p>\n\u003cp>“We lost our community in the last three or four years,” said Larry Block from the sidewalk in front of his shop. Most of the other gay-owned clothing and retail owners have closed. Block opened Block Party in 2009 and has had retail businesses in West Hollywood for more than three decades.\u003c/p>\n\u003cp>He points to new restaurants and bars up and down the street that operate out of the former sites of gay men’s clothing stores. One of the oldest shops, Los Angeles Athletic Club, is having its final closing sale. Block places part of the blame on the city for freely issuing liquor licenses.\u003c/p>\n\u003cp>“This was the community in which the guys would come to shop. You know, gays like things a little tighter, a little shorter, a little skimpy or a little shearer. They like it a little sexier,” Block said. “Now, we’re just becoming a kind of big city. Money comes in, developments come in, restaurants come in.”\u003c/p>\n\u003cp>Experts say gay neighborhoods, once a haven for mainly gay men, have been shifting for more than a decade, driven by gentrification and other social factors including a wider acceptance of LGBTQ community. To make matters even more complicated, and expensive, Zillow released research in May showing that gay neighborhoods are so popular that buyers pay a premium to get in, sometimes hundreds of thousands of dollars.\u003c/p>\n\u003ch3>California’s Biggest Enclave: West Hollywood\u003c/h3>\n\u003cp>In California’s biggest enclave – the city of West Hollywood – change is afoot too, but it looks different, and the city is working hard to maintain much of its gay population and continues to keep them front and center in civic activities and benefits. The California dream many young gay people found there in the ’70s and ’80s, to be able to be themselves, to be safe and to be part of a community, is still alive albeit more expensive.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Terry Beswick, executive director of the GLBT Historical Society']'There’s less necessity to move into gay neighborhoods for safety. We have more apps and online communities to find each other and find support for each other as we move into the post gay marriage era.'[/pullquote]\u003c/p>\n\u003cp>“California has long sought to make itself a place to welcome people who would feel more marginalized in other places,” said Gary Gates, a retired UCLA professor who spent his career studying LGBT communities. “Apart from the Brady Bunch version of the California dream, it’s been one about people going to a new place to feel more free, open and accepted.”\u003c/p>\n\u003cp>And that is still true in West Hollywood where longtime LGBTQ residents and younger people just arriving or visiting find a sense of community even with all of the change.\u003c/p>\n\u003cp>“West Hollywood is still our paradise,” Block said. “This is our Jerusalem.”\u003c/p>\n\u003cfigure id=\"attachment_11768058\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/38600_transform-e1565988560246.jpg\">\u003cimg class=\"size-full wp-image-11768058\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/38600_transform-e1565988560246.jpg\" alt=\"\" width=\"1920\" height=\"1440\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manny Lopez tries on a sparkly sequined top at Block Party in West Hollywood. He's looking for the perfect tank to wear to the pride celebration in San Diego. He lives in San Bernardino but he treks to WeHo as often as he can for the “community” he feels from being a gay neighborhood. \u003ccite>(Elizabeth Aguilera/CALMatters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Hollowed-Out Castro\u003c/h3>\n\u003cp>What is nipping at the edges of the gay community in West Hollywood has already swept through other gay neighborhoods across the country including Chelsea in New York, Dupont Circle in Washington, D.C. and The Castro in San Francisco.\u003c/p>\n\u003cp>High prices aren’t the only drivers of the change, said Alex Bitterman, professor and chair of architecture and design at Alfred State College in Upstate New York. Bitterman is co-writing a book about the evolution of gay neighborhoods and what factors are at play.\u003c/p>\n\u003cp>[aside postID=\"news_11758014\" label=\"Through a Neighborhood Fixture's Eyes\"]\u003c/p>\n\u003cp>These neighborhoods that have beckoned LGBTQ youth for decades have also been impacted by technology which makes it easier to find community and relationships online, broader social acceptance and whether young people feel the need or desire to live in enclave neighborhoods.\u003c/p>\n\u003cp>“The need to band together and to bolster one another is changing,” Bitterman said. “I don’t think it’s going away but the way we, as an isolated or ostracized community, gather is changing.”\u003c/p>\n\u003cp>In San Francisco’s Castro district, Terry Beswick, executive director of the GLBT Historical Society, sees the high housing prices and the greater acceptance across society as the biggest factors for the hollowing out of the Castro.\u003c/p>\n\u003cp>“There’s less necessity to move into gay neighborhoods for safety,” he said. “We have more apps and online communities to find each other and find support for each other as we move into the post gay marriage era.”\u003c/p>\n\u003cfigure id=\"attachment_11634607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28194_Castro-2-qut-800x530.jpg\" alt=\"San Francisco's Castro District on Oct. 27, 2017. Many of the neighborhood's gay residents have been priced out in recent years.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-11634607\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco's Castro District on Oct. 27, 2017. Many of the neighborhood's gay residents have been priced out in recent years. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Change With a New Generation\u003c/h3>\n\u003cp>But there is a generational difference, experts say.\u003c/p>\n\u003cp>Baby boomers and Gen Xer’s who created and flocked to gay neighborhoods grew up in a time when it was taboo to be gay and sometimes dangerous to reveal their sexual identity, even to family and friends.\u003c/p>\n\u003cp>“Young people are coming out in a different way, and what it means to them and how they live and the opportunities they have are different than previous generations. So their desire for exclusive gay options may be different than past generations,” said Gates. “They are growing up in a world that is quite different.”\u003c/p>\n\u003cp>Unlike other places, West Hollywood has been able to maintain a healthy gay population and is committed to its mission as an LGBTQ city, said Mayor John D’Amico.\u003c/p>\n\u003cp>[aside postID=\"news_11717648\" label=\"S.F.'s Tenderloin Establishes Trans District\"]\u003c/p>\n\u003cp>According to city surveys, its population remains about 45% LGBTQ – mainly gay men. By and large gay neighborhoods were established by gay men and are home to very few lesbians, transgender folks and gays of color.\u003c/p>\n\u003cp>West Hollywood is different because of its cityhood and that may be its saving grace, Gates said. It is able to do what bigger cities can’t, focus on the LGBTQ residents by providing services, support and events. The city is known for its gay-centric focus. It started the first registry of domestic partners, offers health services and has a HIV zero campaign to stop the transmission of the virus.\u003c/p>\n\u003cp>“It was founded to be an LGBT haven,” Gates said. “It is unique among LGBT enclaves”\u003c/p>\n\u003cp>Before it became a city, the 1.9 square-mile area was unincorporated and had been home to mobsters who served alcohol during the Prohibition, the first movie studio and, eventually, gay nightlife.\u003c/p>\n\u003cp>In 1984 it was incorporated as West Hollywood, home to more than 37,000 residents, many of them gay. It continues to be a beacon for LGBTQ folks, though it is much more expensive to move in than when D’Amico or councilwoman Lauren Meister arrived decades ago.\u003c/p>\n\u003cp>“They want to be here either to live or to work,” said Meister, who is not LGBTQ. “We have that edge. But I think it’s changing, and it’s changing partly because of the housing; and I think it’s also changing partly because of acceptance.”\u003c/p>\n\u003cp>For West Hollywood, where gay couples, who can now marry and have families, may be leaving for more suburban environs and some seniors may be retiring elsewhere there are still many aging gay residents who plan to stay.\u003c/p>\n\u003cp>That is creating a new moment in the city, said D’Amico.\u003c/p>\n\u003ch3>'We Got You'\u003c/h3>\n\u003cp>“We haven’t lost our identify as an LGBTQ center for Los Angeles,” he said.\u003c/p>\n\u003cp>[aside tag=\"lgbtq\" label=\"More related coverage\"]\u003c/p>\n\u003cp>D’Amico said there’s an assumption that the city isn’t as gay as it used to be but he says it’s just that younger, straight professionals who pull up a bar stool are more visible than the senior immigrants who have lived in the community previously.\u003c/p>\n\u003cp>Block is skeptical about the numbers the city touts. He has seen friends and neighbors move away – many to the latest gay mecca of Palm Springs – or to other parts of the city that are more affordable.\u003c/p>\n\u003cp>It’s important, Block said, because there are still young people, who like him, show up to come out or to find a safe place. That’s true even if the city can’t provide cheap housing anymore.\u003c/p>\n\u003cp>“We got you,” he said. “I mean, you’re amongst your own. I think that’s the most beautiful part of the community is that we are able to do that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The California Dream series is a statewide media collaboration of CALmatters, KPBS, KPCC, KQED and Capital Public Radio, with support from the Corporation for Public Broadcasting, the James Irvine Foundation and the College Futures Foundation.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/CADreamBanner-1-800x219.jpg\">\u003cimg class=\"alignnone size-full wp-image-11768052\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/CADreamBanner-1-800x219.jpg\" alt=\"\" width=\"800\" height=\"219\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/CADreamBanner-1-800x219.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/CADreamBanner-1-800x219-160x44.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wedged snugly between two of the most popular gay bars on Santa Monica Boulevard is Block Party, the “gayest” store in West Hollywood, selling men’s tank tops, swimwear and short shorts, party-themed cowboy hats and everything Pride from rainbow beanie babies to vivid striped jumpsuits.\u003c/p>\n\u003cp>On this stretch of what is loosely considered Boystown in the historically gay city, these three doors are some of the last gay-owned and gay-oriented businesses after a steady march of mainstream restaurants, bars and other retail have moved in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We lost our community in the last three or four years,” said Larry Block from the sidewalk in front of his shop. Most of the other gay-owned clothing and retail owners have closed. Block opened Block Party in 2009 and has had retail businesses in West Hollywood for more than three decades.\u003c/p>\n\u003cp>He points to new restaurants and bars up and down the street that operate out of the former sites of gay men’s clothing stores. One of the oldest shops, Los Angeles Athletic Club, is having its final closing sale. Block places part of the blame on the city for freely issuing liquor licenses.\u003c/p>\n\u003cp>“This was the community in which the guys would come to shop. You know, gays like things a little tighter, a little shorter, a little skimpy or a little shearer. They like it a little sexier,” Block said. “Now, we’re just becoming a kind of big city. Money comes in, developments come in, restaurants come in.”\u003c/p>\n\u003cp>Experts say gay neighborhoods, once a haven for mainly gay men, have been shifting for more than a decade, driven by gentrification and other social factors including a wider acceptance of LGBTQ community. To make matters even more complicated, and expensive, Zillow released research in May showing that gay neighborhoods are so popular that buyers pay a premium to get in, sometimes hundreds of thousands of dollars.\u003c/p>\n\u003ch3>California’s Biggest Enclave: West Hollywood\u003c/h3>\n\u003cp>In California’s biggest enclave – the city of West Hollywood – change is afoot too, but it looks different, and the city is working hard to maintain much of its gay population and continues to keep them front and center in civic activities and benefits. The California dream many young gay people found there in the ’70s and ’80s, to be able to be themselves, to be safe and to be part of a community, is still alive albeit more expensive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“California has long sought to make itself a place to welcome people who would feel more marginalized in other places,” said Gary Gates, a retired UCLA professor who spent his career studying LGBT communities. “Apart from the Brady Bunch version of the California dream, it’s been one about people going to a new place to feel more free, open and accepted.”\u003c/p>\n\u003cp>And that is still true in West Hollywood where longtime LGBTQ residents and younger people just arriving or visiting find a sense of community even with all of the change.\u003c/p>\n\u003cp>“West Hollywood is still our paradise,” Block said. “This is our Jerusalem.”\u003c/p>\n\u003cfigure id=\"attachment_11768058\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/38600_transform-e1565988560246.jpg\">\u003cimg class=\"size-full wp-image-11768058\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/38600_transform-e1565988560246.jpg\" alt=\"\" width=\"1920\" height=\"1440\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manny Lopez tries on a sparkly sequined top at Block Party in West Hollywood. He's looking for the perfect tank to wear to the pride celebration in San Diego. He lives in San Bernardino but he treks to WeHo as often as he can for the “community” he feels from being a gay neighborhood. \u003ccite>(Elizabeth Aguilera/CALMatters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Hollowed-Out Castro\u003c/h3>\n\u003cp>What is nipping at the edges of the gay community in West Hollywood has already swept through other gay neighborhoods across the country including Chelsea in New York, Dupont Circle in Washington, D.C. and The Castro in San Francisco.\u003c/p>\n\u003cp>High prices aren’t the only drivers of the change, said Alex Bitterman, professor and chair of architecture and design at Alfred State College in Upstate New York. Bitterman is co-writing a book about the evolution of gay neighborhoods and what factors are at play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These neighborhoods that have beckoned LGBTQ youth for decades have also been impacted by technology which makes it easier to find community and relationships online, broader social acceptance and whether young people feel the need or desire to live in enclave neighborhoods.\u003c/p>\n\u003cp>“The need to band together and to bolster one another is changing,” Bitterman said. “I don’t think it’s going away but the way we, as an isolated or ostracized community, gather is changing.”\u003c/p>\n\u003cp>In San Francisco’s Castro district, Terry Beswick, executive director of the GLBT Historical Society, sees the high housing prices and the greater acceptance across society as the biggest factors for the hollowing out of the Castro.\u003c/p>\n\u003cp>“There’s less necessity to move into gay neighborhoods for safety,” he said. “We have more apps and online communities to find each other and find support for each other as we move into the post gay marriage era.”\u003c/p>\n\u003cfigure id=\"attachment_11634607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28194_Castro-2-qut-800x530.jpg\" alt=\"San Francisco's Castro District on Oct. 27, 2017. Many of the neighborhood's gay residents have been priced out in recent years.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-11634607\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-375x248.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/12/RS28194_Castro-2-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco's Castro District on Oct. 27, 2017. Many of the neighborhood's gay residents have been priced out in recent years. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Change With a New Generation\u003c/h3>\n\u003cp>But there is a generational difference, experts say.\u003c/p>\n\u003cp>Baby boomers and Gen Xer’s who created and flocked to gay neighborhoods grew up in a time when it was taboo to be gay and sometimes dangerous to reveal their sexual identity, even to family and friends.\u003c/p>\n\u003cp>“Young people are coming out in a different way, and what it means to them and how they live and the opportunities they have are different than previous generations. So their desire for exclusive gay options may be different than past generations,” said Gates. “They are growing up in a world that is quite different.”\u003c/p>\n\u003cp>Unlike other places, West Hollywood has been able to maintain a healthy gay population and is committed to its mission as an LGBTQ city, said Mayor John D’Amico.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to city surveys, its population remains about 45% LGBTQ – mainly gay men. By and large gay neighborhoods were established by gay men and are home to very few lesbians, transgender folks and gays of color.\u003c/p>\n\u003cp>West Hollywood is different because of its cityhood and that may be its saving grace, Gates said. It is able to do what bigger cities can’t, focus on the LGBTQ residents by providing services, support and events. The city is known for its gay-centric focus. It started the first registry of domestic partners, offers health services and has a HIV zero campaign to stop the transmission of the virus.\u003c/p>\n\u003cp>“It was founded to be an LGBT haven,” Gates said. “It is unique among LGBT enclaves”\u003c/p>\n\u003cp>Before it became a city, the 1.9 square-mile area was unincorporated and had been home to mobsters who served alcohol during the Prohibition, the first movie studio and, eventually, gay nightlife.\u003c/p>\n\u003cp>In 1984 it was incorporated as West Hollywood, home to more than 37,000 residents, many of them gay. It continues to be a beacon for LGBTQ folks, though it is much more expensive to move in than when D’Amico or councilwoman Lauren Meister arrived decades ago.\u003c/p>\n\u003cp>“They want to be here either to live or to work,” said Meister, who is not LGBTQ. “We have that edge. But I think it’s changing, and it’s changing partly because of the housing; and I think it’s also changing partly because of acceptance.”\u003c/p>\n\u003cp>For West Hollywood, where gay couples, who can now marry and have families, may be leaving for more suburban environs and some seniors may be retiring elsewhere there are still many aging gay residents who plan to stay.\u003c/p>\n\u003cp>That is creating a new moment in the city, said D’Amico.\u003c/p>\n\u003ch3>'We Got You'\u003c/h3>\n\u003cp>“We haven’t lost our identify as an LGBTQ center for Los Angeles,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>D’Amico said there’s an assumption that the city isn’t as gay as it used to be but he says it’s just that younger, straight professionals who pull up a bar stool are more visible than the senior immigrants who have lived in the community previously.\u003c/p>\n\u003cp>Block is skeptical about the numbers the city touts. He has seen friends and neighbors move away – many to the latest gay mecca of Palm Springs – or to other parts of the city that are more affordable.\u003c/p>\n\u003cp>It’s important, Block said, because there are still young people, who like him, show up to come out or to find a safe place. That’s true even if the city can’t provide cheap housing anymore.\u003c/p>\n\u003cp>“We got you,” he said. “I mean, you’re amongst your own. I think that’s the most beautiful part of the community is that we are able to do that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The California Dream series is a statewide media collaboration of CALmatters, KPBS, KPCC, KQED and Capital Public Radio, with support from the Corporation for Public Broadcasting, the James Irvine Foundation and the College Futures Foundation.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/CADreamBanner-1-800x219.jpg\">\u003cimg class=\"alignnone size-full wp-image-11768052\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/CADreamBanner-1-800x219.jpg\" alt=\"\" width=\"800\" height=\"219\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/CADreamBanner-1-800x219.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/CADreamBanner-1-800x219-160x44.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Trump Administration Threatens Endangered Species\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The U.S. Department of Interior announced major revisions to the nation’s premier wildlife conservation law, which is credited with bringing back the bald eagle and grizzly bears, among other species. \u003c/span>\u003cspan style=\"font-weight: 400\">The Trump administration says it’s a necessary change to balance economic considerations with the law’s intent to protect endangered wildlife. But science experts say that the new revisions could threaten the already 1 million plant and animal species that are already endangered. California Attorney General Xavier Becerra joined Massachusetts Attorney General Maura Healey in suing the Trump administration over the new changes. The next day California joined 29 states and cities in a lawsuit against another Trump roll-back of environmental regulations the Obama era restrictions on coal-burning power plants. \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\">Kevin Stark, reporter, KQED Science\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Dan Kammen, energy professor, UC Berkeley \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Controversial Mural-Voted to be Hidden not Destroyed\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The San Francisco Unified District School Board voted this week to hide and not destroy the controversial mural at George Washington High School. The mural depicts George Washington’s slaves and white settlers stepping over a dead Native American. In June, the school board was leaning towards painting over the mural. The controversial paintings has caused national uproar, while those against the mural say the images are offensive and should not be seen by students every day and those who are for the mural say there must be preservation of history and art. \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\">Chloe Veltman, arts & culture reporter, KQED News\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Arianna Antone-Ramirez\u003c/span>\u003cb>, \u003c/b>\u003cspan style=\"font-weight: 400\">board member, American Indian Cultural Center \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Facial Recognition Matching Lawmakers with Mugshots\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week, the American Civil Liberties Union revealed that it had ran a test on Amazon’s recognition software. 120 legislators had their faces ran through a public database of 25,000 suspect mugshots, resulting in 26 false matches. Assemblymember Phil Ting was one of the legislators misidentified in the first round of testing. Ting is among the California lawmakers \u003c/span>\u003cspan style=\"font-weight: 400\">calling for a ban on the use of facial recognition software in body-worn police cameras, warning that embracing such technology could put lives at risk. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Phil Ting, Assemblymember, D-San Francisco\u003c/span>\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Trump Administration Threatens Endangered Species\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The U.S. Department of Interior announced major revisions to the nation’s premier wildlife conservation law, which is credited with bringing back the bald eagle and grizzly bears, among other species. \u003c/span>\u003cspan style=\"font-weight: 400\">The Trump administration says it’s a necessary change to balance economic considerations with the law’s intent to protect endangered wildlife. But science experts say that the new revisions could threaten the already 1 million plant and animal species that are already endangered. California Attorney General Xavier Becerra joined Massachusetts Attorney General Maura Healey in suing the Trump administration over the new changes. The next day California joined 29 states and cities in a lawsuit against another Trump roll-back of environmental regulations the Obama era restrictions on coal-burning power plants. \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\">Kevin Stark, reporter, KQED Science\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Dan Kammen, energy professor, UC Berkeley \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Controversial Mural-Voted to be Hidden not Destroyed\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The San Francisco Unified District School Board voted this week to hide and not destroy the controversial mural at George Washington High School. The mural depicts George Washington’s slaves and white settlers stepping over a dead Native American. In June, the school board was leaning towards painting over the mural. The controversial paintings has caused national uproar, while those against the mural say the images are offensive and should not be seen by students every day and those who are for the mural say there must be preservation of history and art. \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\">Chloe Veltman, arts & culture reporter, KQED News\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Arianna Antone-Ramirez\u003c/span>\u003cb>, \u003c/b>\u003cspan style=\"font-weight: 400\">board member, American Indian Cultural Center \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Facial Recognition Matching Lawmakers with Mugshots\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week, the American Civil Liberties Union revealed that it had ran a test on Amazon’s recognition software. 120 legislators had their faces ran through a public database of 25,000 suspect mugshots, resulting in 26 false matches. Assemblymember Phil Ting was one of the legislators misidentified in the first round of testing. Ting is among the California lawmakers \u003c/span>\u003cspan style=\"font-weight: 400\">calling for a ban on the use of facial recognition software in body-worn police cameras, warning that embracing such technology could put lives at risk. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "The Cave Woman of India: Tracing My Scars as an Immigrant's Daughter",
"title": "The Cave Woman of India: Tracing My Scars as an Immigrant's Daughter",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener\" 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>[dropcap]D[/dropcap]istant mountains are always blue. That was something my mother used to say to me. Over and over again. Distant mountains are always blue. It is true, especially in India, where the Ghats are dark bundles of risen geometry pointing up to the sky.\u003c/p>\n\u003cp>But I think it means more than that now, more than just a description of the Sahyadri mountains seen from far away. It is as if the distance itself is coated in dark blue melancholy. The same color of a deepening sky as night falls. The same color that makes it seem like twilight is nostalgia for the day.\u003c/p>\n\u003cp>It is not just the way the lush greenness of the Sahyadris somehow mixes with the deep purple rock face, and turns the distant shapes to midnight cobalt. It’s something that happens in the space between — the very far awayness of those far away mountain ranges.\u003c/p>\n\u003cp>Distant mountains are always blue.\u003c/p>\n\u003cp>I know this now, because my mother is my distant mountain.\u003c/p>\n\u003cfigure id=\"attachment_11767393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11767393 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/IMG_3273-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3273-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3273-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3273-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3273-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3273.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view of the gorge from inside an Ajanta cave, Maharashtra India. \u003ccite>(Sandhya Dirks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My mother is Parsi, born and raised in India. Like many children of immigrants, I spent parts of my childhood in my mother’s country. I have an Indian name, and Indian eyes, but I am not Indian in India, and not quite American in America. I am, like so many, in between.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I think of my childhood visits to India, I most vividly remember my mother’s caves. Well, maybe they are not \u003cem>her\u003c/em> caves, not really, but for almost as long as I can remember my mother has been obsessed with — and has studied — a place called Ajanta.\u003c/p>\n\u003cfigure id=\"attachment_11767392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11767392 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/IMG_3395-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3395-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3395-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3395-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3395-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3395.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The caves at Ajanta were carved, sculpted and painted between the first Century BC and the sixth century AD. \u003ccite>(Sandhya Dirks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ajanta is a \u003ca href=\"https://whc.unesco.org/en/list/242/\">UNESCO world heritage site\u003c/a> — 30 Buddhist caves carved into the rock face of a giant ravine, forged and painted between the first century BC and 6th century AD.\u003c/p>\n\u003cp>My mother has spent the last 30 years as an art historian learning and understanding the artwork left behind there; sculpture and paintings and stories. From centuries beyond imagining; the trace beginnings of the divine.\u003c/p>\n\u003cfigure id=\"attachment_11767370\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11767370 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/IMG_3336-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3336-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3336-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3336-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3336-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3336.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My mother, resting and reflecting inside an unfinished cave at Ajanta. \u003ccite>(Sandhya Dirks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is not just the caves, with their cold stone interiors, not just the giant sculptures of the Buddha, and the way you can sense that this was once a place of worship and sacrifice. This was also my childhood playground. I wandered in and out and around the caves, while my mother squinted in the dark.\u003c/p>\n\u003cp>I have watched my mother disappear into other kinds of caves too. Depression is after all, a kind of cave.\u003c/p>\n\u003cp>Now, decades later, I visit my mother in India again. She's depressed again. So in the winter of 2018 I make the 20-plus hour trip from California to see her. I told myself that she needed me, but if I’m being honest I went for myself too — to trace some scars of my own.\u003c/p>\n\u003cfigure id=\"attachment_11767387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11767387 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/IMG_3236-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3236-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3236-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3236-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3236-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3236.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My mother and I, posing at lookout point -- where you can see all the caves laid out across the surface of the rock. \u003ccite>(Sandhya Dirks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Together, we returned to Ajanta. We went back to her caves. It was a pilgrimage of sorts to the place that makes her happiest, and to the last place I truly remember being mothered.\u003c/p>\n\u003cp>This is the story of that journey. It’s a story about mothers and daughters, mental illness, historical trauma and history itself. The way it repeats, the way it fails to learn, and the way the ghosts of the past live on inside us.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2019/08/TCRMAG20190816.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/IMG_3331.jpg\" Title=\"The Cave Woman of India: Tracing My Scars as an Immigrant's Daughter\" program=\"The California Report Magazine\"]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Most children of immigrant parents know what it's like to walk between two worlds. KQED's Sandhya Dirks takes us back with her to her mother's India -- to a tell a story about inherited trauma, mental illness, and South Asian history. ",
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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\" 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>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">D\u003c/span>\u003c/p>\u003cp>istant mountains are always blue. That was something my mother used to say to me. Over and over again. Distant mountains are always blue. It is true, especially in India, where the Ghats are dark bundles of risen geometry pointing up to the sky.\u003c/p>\n\u003cp>But I think it means more than that now, more than just a description of the Sahyadri mountains seen from far away. It is as if the distance itself is coated in dark blue melancholy. The same color of a deepening sky as night falls. The same color that makes it seem like twilight is nostalgia for the day.\u003c/p>\n\u003cp>It is not just the way the lush greenness of the Sahyadris somehow mixes with the deep purple rock face, and turns the distant shapes to midnight cobalt. It’s something that happens in the space between — the very far awayness of those far away mountain ranges.\u003c/p>\n\u003cp>Distant mountains are always blue.\u003c/p>\n\u003cp>I know this now, because my mother is my distant mountain.\u003c/p>\n\u003cfigure id=\"attachment_11767393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11767393 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/IMG_3273-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3273-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3273-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3273-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3273-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3273.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view of the gorge from inside an Ajanta cave, Maharashtra India. \u003ccite>(Sandhya Dirks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My mother is Parsi, born and raised in India. Like many children of immigrants, I spent parts of my childhood in my mother’s country. I have an Indian name, and Indian eyes, but I am not Indian in India, and not quite American in America. I am, like so many, in between.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I think of my childhood visits to India, I most vividly remember my mother’s caves. Well, maybe they are not \u003cem>her\u003c/em> caves, not really, but for almost as long as I can remember my mother has been obsessed with — and has studied — a place called Ajanta.\u003c/p>\n\u003cfigure id=\"attachment_11767392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11767392 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/IMG_3395-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3395-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3395-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3395-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3395-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3395.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The caves at Ajanta were carved, sculpted and painted between the first Century BC and the sixth century AD. \u003ccite>(Sandhya Dirks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ajanta is a \u003ca href=\"https://whc.unesco.org/en/list/242/\">UNESCO world heritage site\u003c/a> — 30 Buddhist caves carved into the rock face of a giant ravine, forged and painted between the first century BC and 6th century AD.\u003c/p>\n\u003cp>My mother has spent the last 30 years as an art historian learning and understanding the artwork left behind there; sculpture and paintings and stories. From centuries beyond imagining; the trace beginnings of the divine.\u003c/p>\n\u003cfigure id=\"attachment_11767370\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11767370 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/IMG_3336-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3336-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3336-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3336-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3336-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3336.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My mother, resting and reflecting inside an unfinished cave at Ajanta. \u003ccite>(Sandhya Dirks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is not just the caves, with their cold stone interiors, not just the giant sculptures of the Buddha, and the way you can sense that this was once a place of worship and sacrifice. This was also my childhood playground. I wandered in and out and around the caves, while my mother squinted in the dark.\u003c/p>\n\u003cp>I have watched my mother disappear into other kinds of caves too. Depression is after all, a kind of cave.\u003c/p>\n\u003cp>Now, decades later, I visit my mother in India again. She's depressed again. So in the winter of 2018 I make the 20-plus hour trip from California to see her. I told myself that she needed me, but if I’m being honest I went for myself too — to trace some scars of my own.\u003c/p>\n\u003cfigure id=\"attachment_11767387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11767387 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/IMG_3236-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3236-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3236-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3236-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3236-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/08/IMG_3236.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My mother and I, posing at lookout point -- where you can see all the caves laid out across the surface of the rock. \u003ccite>(Sandhya Dirks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Together, we returned to Ajanta. We went back to her caves. It was a pilgrimage of sorts to the place that makes her happiest, and to the last place I truly remember being mothered.\u003c/p>\n\u003cp>This is the story of that journey. It’s a story about mothers and daughters, mental illness, historical trauma and history itself. The way it repeats, the way it fails to learn, and the way the ghosts of the past live on inside us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "LGBTQ Creators Sue YouTube, Alleging It Discriminates Against Them",
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"content": "\u003cp>Eight LGBTQ YouTubers are suing the video-sharing platform, alleging it discriminates against them based on their sexual orientation or gender identity.\u003c/p>\n\u003cp>The lawsuit, filed in federal court in San Jose, alleges that the Google-owned company unfairly tags LGBTQ content as offensive or sexually explicit, which limits a video creator's ability to advertise or to make money from advertisements on their videos.\u003c/p>\n\u003cp>\"All we're saying here is the LGBT community wants a level playing field when it comes to content restriction, monetization of content and the right to advertise content,\" said Peter Obstler, the attorney representing YouTubers Chris Knight, Celso Dulay, Cameron Stiehl, Bria Kam, Chrissy Chambers, Chase Ross, Brett Somers and Lindsay Amer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A YouTube spokesperson said their policies don't target LGBTQ content.\u003c/p>\n\u003cp>\"We’re proud that so many LGBTQ creators have chosen YouTube as a place to share their stories and build community. All content on our site is subject to the same policies,\" Alex Joseph, a YouTube representative, told \u003ca href=\"https://www.buzzfeednews.com/article/laurenstrapagiel/lgbtq-creators-youtube-lawsuit\" target=\"_blank\" rel=\"noopener\">Buzzfeed News\u003c/a>.\u003c/p>\n\u003cp>YouTube, based in San Bruno, has repeatedly come under fire for its treatment of LGBTQ content creators.\u003c/p>\n\u003cp>[aside tag='lgbtq-rights' label='Related Coverage']Most recently, the platform was criticized for saying videos by conservative comedian Steven Crowder containing homophobic and racist jokes about journalist Carlos Maza \u003ca href=\"https://twitter.com/TeamYouTube/status/1136341801109843968\">did not violate\u003c/a> its policies. The next day, the company took away Crowder's ability to make money from his channel.\u003c/p>\n\u003cp>YouTube CEO Susan Wojcicki apologized in June to LGBTQ content creators over that incident, The Verge \u003ca href=\"https://www.theverge.com/2019/6/10/18660473/youtube-lgbtq-susan-wojcicki-carlos-maza-steven-crowder\">reported\u003c/a>.\u003c/p>\n\u003cp>Conservatives have long complained that tech companies discriminate against them because of their views. Increasingly, liberals and LGBTQ people are arguing that their viewpoints are being discriminated against, too.\u003c/p>\n\u003cp>\"The whole nature of content moderation online, the whole process of editorially assigning what content gets more promotion or less, creates conflict,\" said Santa Clara University Law Professor Eric Goldman. \"The losers of that conflict are always going to feel like they didn't lose on the merits, that they lost based on bias. So that's why everyone feels like they're biased.\"\u003c/p>\n\u003cp>\u003c/p>\n",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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