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"content": "\u003cp>Apple — with revenue of $265.6 billion in 2018 — \u003ca href=\"http://bit.ly/fioreartistsapple\" target=\"_blank\" rel=\"noopener\">isn't paying artists who perform at its stores\u003c/a>.\u003c/p>\n\u003cp>Instead of cash, the company with the world's highest market capitalization is paying artists who perform at in-store \"Today At Apple\" events in merchandise.\u003c/p>\n\u003cp>Maybe I'm being too cynical, but something tells me there are more than a few artists in the Bay Area who would rather get some rent money than an iWatch or an extra pair of \u003cdel>earphones\u003c/del> AirPods to stuff in their ears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "How Bill Graham's Nazi Escape Might Explain His Fillmore Apples",
"headTitle": "How Bill Graham’s Nazi Escape Might Explain His Fillmore Apples | KQED",
"content": "\u003cp>To see a show put on by Bill Graham at San Francisco’s Fillmore Auditorium in the late 1960s was to see a new kind of concert experience.\u003cbr>\n[baycuriouspodcastinfo]\u003cbr>\nIt started with the musicians. Graham cultivated many of the rock and roll acts that created a new kind of music, and provided the soundtrack for the counterculture revolution. Acts like the Grateful Dead, Janis Joplin, Jimi Hendrix and Santana were regulars at the Fillmore.\u003c/p>\n\u003cp>“He used to book very unusual opening acts,” said Bonnie Simmons, executive director of the Bill Graham Memorial Foundation. “You might be coming to see the Jefferson Airplane, but the opening act would be Andrei Voznesensky, the Russian poet.”\u003c/p>\n\u003cfigure id=\"attachment_11731738\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11731738\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35731_alt_835-800x1067.jpg\" alt=\"The apples are such an iconic part of the Fillmore that the theater's marquee includes one.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-900x1200.jpg 900w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The apples are such an iconic part of the Fillmore that the theater’s marquee includes one. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But maybe the oddest aspect of Graham’s Fillmore shows had nothing to do with the performances at all. At every show, concertgoers were greeted by a barrel of Red Delicious apples, free for the taking.\u003c/p>\n\u003cp>Simmons remembers seeing the apples when she went to concerts at the Fillmore in the 1960s. When the venue in the city’s Western Addition reopened under new management in the mid-1990s, the apple tradition continued.\u003c/p>\n\u003cp>“Of all the shows that I’ve been to and all the different venues, it’s the only place that hands out fruit,” said Sandra Julien, who’s been going to shows at the Fillmore since she moved to the Bay Area eight years ago.\u003c/p>\n\u003cp>Julien wanted to know more, and asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a>: \u003cstrong>Why does the Fillmore hand out free apples?\u003c/strong>\u003c/p>\n\u003cp>Graham, who was killed in a helicopter crash in 1991, never explained his reasoning behind the apples, leaving others to guess at his motivation.\u003c/p>\n\u003cp>Some say that he wanted to give the broke hippies who came to his shows something nutritious to eat. Many believe that it was an extension of his famous hospitality, which he learned working as a waiter in the Catskills.\u003cbr>\n[ad fullwidth]\u003cbr>\n“To my mind the barrel of apples was Bill’s attempt to welcome people to his house,” said Bob Greenfield, who co-wrote Graham’s autobiography.\u003c/p>\n\u003cp>But about a decade ago, Bonnie Simmons stumbled on another possible explanation that dates back to Graham’s experience fleeing Nazi Germany as a child.\u003c/p>\n\u003ch3>Fleeing the Holocaust\u003c/h3>\n\u003cp>Graham was born Wolfgang Grajonca to a Jewish family in Berlin in 1931. After Nazis brutally attacked Jewish synagogues, homes and businesses in a 1938 event that came to be known as \u003ca href=\"https://www.history.com/topics/holocaust/kristallnacht\" target=\"_blank\" rel=\"noopener\">Kristallnacht\u003c/a>, or the Night of Broken Glass, Graham’s single mother put him and one of his sisters in a German orphanage to protect them from the government.\u003c/p>\n\u003cp>The following year, they were sent to an orphanage in France. It was the beginning of an arduous journey through Europe and Africa that would kill his sister and eventually ended with young Graham in 1939 getting on a boat bound for the United States, where he was adopted by a family in New York.\u003c/p>\n\u003cp>Also on that journey was a boy named Ralph Moratz, who became friends with Graham when they met at the German orphanage.\u003c/p>\n\u003cfigure id=\"attachment_11732886\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg decoding=\"async\" loading=\"lazy\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35805_Bill_Graham-qut.jpg\" alt=\"Bill Graham, circa 1990.\" width=\"450\" height=\"309\" class=\"size-full wp-image-11732886\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35805_Bill_Graham-qut.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35805_Bill_Graham-qut-160x110.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham, circa 1990. \u003ccite>(Photo by Mark Sarfati via Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We became best friends sharing, for the next few years, the hardships imposed by the German invasion of its surrounding countries,” Moratz wrote in his \u003ca href=\"https://ralphm1935.wordpress.com/\" target=\"_blank\" rel=\"noopener\">chronicles\u003c/a> of their friendship and journey.\u003c/p>\n\u003cp>One of the kids’ early stops was a chateau in Quincy-sous-Sénart in northern France. The neighborhood was filled with German soldiers, and the kids were stuck inside with little to eat.\u003c/p>\n\u003cp>“For breakfast we got a cup of watery porridge and a thin stale slice of bread. No lunch. Dinner consisted of half a cup of rice from the one bag still stored in the cellar,” Moratz wrote. “We spent most of our time trying to sleep. Only with sleep could we get some relief from the constant hunger pangs.”\u003c/p>\n\u003cp>\u003ca href=\"https://ralphm1935.wordpress.com/2014/12/02/chapter-6-bill-graham-presents-and-the-famous-apple-barrel/\" target=\"_blank\" rel=\"noopener\">According to Moratz\u003c/a>, a few of the older boys decided to organize the kids into groups to sneak out and forage for apples from the many orchards in town. Groups of four boys would be lowered out a window in the chateau 6 feet down to the ground. They carried empty rice bags, which could fit 15 to 20 apples.\u003c/p>\n\u003cp>Younger boys, like Moratz and Graham, were sent out most often, under the assumption that they would attract less attention from German patrols. The older boys liked to vary who went out to try to avoid detection, but Moratz said Graham found a way to be a part of the raiding party more often than not.\u003c/p>\n\u003cp>“Would it surprise you to find out that Wolfgang [Graham] volunteered to go out and forage every day?” Moratz wrote.\u003c/p>\n\u003ch3>No Way to Know for Sure\u003c/h3>\n\u003cfigure id=\"attachment_11731763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11731763\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-800x600.jpg\" alt=\"Since Bill Graham first started putting on shows at the Fillmore Auditorium in the late 1960s, the venue has put out a barrel of free apples for guests.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Since Bill Graham first started putting on shows at the Fillmore Auditorium in the late 1960s, the venue has put out a barrel of free apples for guests. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham never spoke publicly about this experience, and he rarely talked about his time during the Holocaust at all, telling people that he remembered very little of his life before making it to the United States. But that hasn’t stopped people from latching onto Moratz’s story.\u003c/p>\n\u003cp>“Many of us now believe [giving away apples] was some kind of hidden impulse to share the life preserving fruit, which saved us from certain starvation, with the public as a form of thanksgiving,” Moratz wrote.\u003c/p>\n\u003cp>Bob Greenfield, Graham’s biographer, is not convinced.\u003c/p>\n\u003cp>“He’s making a link that I don’t think Bill ever made even unconsciously,” he said of Moratz, who died in 2016. “Bill always lived in the moment. He wasn’t someone who was possessed by or living in the past.”\u003c/p>\n\u003cp>With Graham gone, we will never know for sure why the apples became a Fillmore staple. But question asker Sandra Julien said hearing about Graham’s escape from Europe makes the Fillmore even more meaningful to her.\u003c/p>\n\u003cp>“Now when I go to the Fillmore, I’m always going to think of this,” she said.\u003c/p>\n\u003cfigure id=\"attachment_11732715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11732715 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35334__DSC6258-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A concertgoer who identified himself only as Sean enjoys his first Fillmore apple while he waits for a concert to begin. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To see a show put on by Bill Graham at San Francisco’s Fillmore Auditorium in the late 1960s was to see a new kind of concert experience.\u003cbr>\n\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003cbr>\nIt started with the musicians. Graham cultivated many of the rock and roll acts that created a new kind of music, and provided the soundtrack for the counterculture revolution. Acts like the Grateful Dead, Janis Joplin, Jimi Hendrix and Santana were regulars at the Fillmore.\u003c/p>\n\u003cp>“He used to book very unusual opening acts,” said Bonnie Simmons, executive director of the Bill Graham Memorial Foundation. “You might be coming to see the Jefferson Airplane, but the opening act would be Andrei Voznesensky, the Russian poet.”\u003c/p>\n\u003cfigure id=\"attachment_11731738\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11731738\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35731_alt_835-800x1067.jpg\" alt=\"The apples are such an iconic part of the Fillmore that the theater's marquee includes one.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-900x1200.jpg 900w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35731_alt_835.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The apples are such an iconic part of the Fillmore that the theater’s marquee includes one. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But maybe the oddest aspect of Graham’s Fillmore shows had nothing to do with the performances at all. At every show, concertgoers were greeted by a barrel of Red Delicious apples, free for the taking.\u003c/p>\n\u003cp>Simmons remembers seeing the apples when she went to concerts at the Fillmore in the 1960s. When the venue in the city’s Western Addition reopened under new management in the mid-1990s, the apple tradition continued.\u003c/p>\n\u003cp>“Of all the shows that I’ve been to and all the different venues, it’s the only place that hands out fruit,” said Sandra Julien, who’s been going to shows at the Fillmore since she moved to the Bay Area eight years ago.\u003c/p>\n\u003cp>Julien wanted to know more, and asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a>: \u003cstrong>Why does the Fillmore hand out free apples?\u003c/strong>\u003c/p>\n\u003cp>Graham, who was killed in a helicopter crash in 1991, never explained his reasoning behind the apples, leaving others to guess at his motivation.\u003c/p>\n\u003cp>Some say that he wanted to give the broke hippies who came to his shows something nutritious to eat. Many believe that it was an extension of his famous hospitality, which he learned working as a waiter in the Catskills.\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n“To my mind the barrel of apples was Bill’s attempt to welcome people to his house,” said Bob Greenfield, who co-wrote Graham’s autobiography.\u003c/p>\n\u003cp>But about a decade ago, Bonnie Simmons stumbled on another possible explanation that dates back to Graham’s experience fleeing Nazi Germany as a child.\u003c/p>\n\u003ch3>Fleeing the Holocaust\u003c/h3>\n\u003cp>Graham was born Wolfgang Grajonca to a Jewish family in Berlin in 1931. After Nazis brutally attacked Jewish synagogues, homes and businesses in a 1938 event that came to be known as \u003ca href=\"https://www.history.com/topics/holocaust/kristallnacht\" target=\"_blank\" rel=\"noopener\">Kristallnacht\u003c/a>, or the Night of Broken Glass, Graham’s single mother put him and one of his sisters in a German orphanage to protect them from the government.\u003c/p>\n\u003cp>The following year, they were sent to an orphanage in France. It was the beginning of an arduous journey through Europe and Africa that would kill his sister and eventually ended with young Graham in 1939 getting on a boat bound for the United States, where he was adopted by a family in New York.\u003c/p>\n\u003cp>Also on that journey was a boy named Ralph Moratz, who became friends with Graham when they met at the German orphanage.\u003c/p>\n\u003cfigure id=\"attachment_11732886\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg decoding=\"async\" loading=\"lazy\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35805_Bill_Graham-qut.jpg\" alt=\"Bill Graham, circa 1990.\" width=\"450\" height=\"309\" class=\"size-full wp-image-11732886\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35805_Bill_Graham-qut.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35805_Bill_Graham-qut-160x110.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Bill Graham, circa 1990. \u003ccite>(Photo by Mark Sarfati via Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We became best friends sharing, for the next few years, the hardships imposed by the German invasion of its surrounding countries,” Moratz wrote in his \u003ca href=\"https://ralphm1935.wordpress.com/\" target=\"_blank\" rel=\"noopener\">chronicles\u003c/a> of their friendship and journey.\u003c/p>\n\u003cp>One of the kids’ early stops was a chateau in Quincy-sous-Sénart in northern France. The neighborhood was filled with German soldiers, and the kids were stuck inside with little to eat.\u003c/p>\n\u003cp>“For breakfast we got a cup of watery porridge and a thin stale slice of bread. No lunch. Dinner consisted of half a cup of rice from the one bag still stored in the cellar,” Moratz wrote. “We spent most of our time trying to sleep. Only with sleep could we get some relief from the constant hunger pangs.”\u003c/p>\n\u003cp>\u003ca href=\"https://ralphm1935.wordpress.com/2014/12/02/chapter-6-bill-graham-presents-and-the-famous-apple-barrel/\" target=\"_blank\" rel=\"noopener\">According to Moratz\u003c/a>, a few of the older boys decided to organize the kids into groups to sneak out and forage for apples from the many orchards in town. Groups of four boys would be lowered out a window in the chateau 6 feet down to the ground. They carried empty rice bags, which could fit 15 to 20 apples.\u003c/p>\n\u003cp>Younger boys, like Moratz and Graham, were sent out most often, under the assumption that they would attract less attention from German patrols. The older boys liked to vary who went out to try to avoid detection, but Moratz said Graham found a way to be a part of the raiding party more often than not.\u003c/p>\n\u003cp>“Would it surprise you to find out that Wolfgang [Graham] volunteered to go out and forage every day?” Moratz wrote.\u003c/p>\n\u003ch3>No Way to Know for Sure\u003c/h3>\n\u003cfigure id=\"attachment_11731763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11731763\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-800x600.jpg\" alt=\"Since Bill Graham first started putting on shows at the Fillmore Auditorium in the late 1960s, the venue has put out a barrel of free apples for guests.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35733_Filmore-Apples-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Since Bill Graham first started putting on shows at the Fillmore Auditorium in the late 1960s, the venue has put out a barrel of free apples for guests. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham never spoke publicly about this experience, and he rarely talked about his time during the Holocaust at all, telling people that he remembered very little of his life before making it to the United States. But that hasn’t stopped people from latching onto Moratz’s story.\u003c/p>\n\u003cp>“Many of us now believe [giving away apples] was some kind of hidden impulse to share the life preserving fruit, which saved us from certain starvation, with the public as a form of thanksgiving,” Moratz wrote.\u003c/p>\n\u003cp>Bob Greenfield, Graham’s biographer, is not convinced.\u003c/p>\n\u003cp>“He’s making a link that I don’t think Bill ever made even unconsciously,” he said of Moratz, who died in 2016. “Bill always lived in the moment. He wasn’t someone who was possessed by or living in the past.”\u003c/p>\n\u003cp>With Graham gone, we will never know for sure why the apples became a Fillmore staple. But question asker Sandra Julien said hearing about Graham’s escape from Europe makes the Fillmore even more meaningful to her.\u003c/p>\n\u003cp>“Now when I go to the Fillmore, I’m always going to think of this,” she said.\u003c/p>\n\u003cfigure id=\"attachment_11732715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11732715 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/RS35334__DSC6258-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/RS35334__DSC6258-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A concertgoer who identified himself only as Sean enjoys his first Fillmore apple while he waits for a concert to begin. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'One of a Kind': Remembering Jeanie Patterson, Owner of Mill Valley's Sweetwater",
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"content": "\u003cp>If you walked into the Sweetwater in downtown Mill Valley on a Friday night during the 1980s or '90s, the tiny music venue would be packed. Patrons had to get there early to get a seat at one of the tables clustered close together next to walls plastered in photos and posters.\u003c/p>\n\u003cp>It could only hold about 100 people, but big names including Bob Weir, Elvis Costello, Huey Lewis, Sammy Hagar and Carlos Santana were known to stop by.\u003c/p>\n\u003cp>\"You never knew who was going to come by and sit in. It wasn't announced. It was just there because it was the Sweetwater,\" said Roy Rogers, a blues guitarist who used to play and hang out at Sweetwater.\u003c/p>\n\u003cfigure id=\"attachment_11732115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732115 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-800x642.jpg\" alt=\"\" width=\"800\" height=\"642\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-800x642.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1020x819.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1200x964.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1920x1542.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Sweetwater owner Jeanie Patterson, local record store owner John Goddard, blues signer and guitarist Bonnie Raitt, and folk and blues singer Maria Muldar stand in front of one of the many walls in the Sweetwater plastered in photos and posters. \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The woman who turned this tiny club into a magnet for top musicians was its longtime owner, Jeanie Patterson, who ran the club from 1979 to 1998 and died of cardiac arrest at the age of 75 in late February.\u003c/p>\n\u003cp>\"It was a one-of-a-kind club that was run by one-of-a-kind person,\" said John Goddard, a friend of Patterson's who owned a well-known record store in Mill Valley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The original Sweetwater shut its doors in 2007, and a group of investors, including the Grateful Dead's Bob Weir, reopened the club at a nearby location in 2012.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ew_FRsurUNI\u003c/p>\n\u003cp>Patterson's sister, Mary Tatter, says her charisma brought so many famous musicians into the tiny venue.\u003c/p>\n\u003cp>\"I think they all felt that from her,\" Tatter said, \"that she really cared about them, and she really cared about music and she was naive and they wanted to help her. And they fell in love with her like everyone has.\"\u003c/p>\n\u003cp>But, according to Tatter, it never went to her head.\u003c/p>\n\u003cp>\"She was very special and very modest and didn't talk about all the people that she knew and had met,\" Tatter said.\u003c/p>\n\u003cp>A lot of those musicians lived in or around Mill Valley, so word about Sweetwater spread. Patterson became friends with Weir, Bill Graham and many others.\u003c/p>\n\u003cfigure id=\"attachment_11732116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732116 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-3-800x643.jpg\" alt=\"\" width=\"800\" height=\"643\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-160x129.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1020x820.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1200x965.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1920x1544.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Blues musician Champion Jack Dupree, keyboardist Austin Delone and Sweetwater owner Jeanie Patterson hang out at the downtown Mill Valley music club. \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Everybody knew about it. It was just one of those clubs,\" Rogers said. \"You always knew the quality of the music would be great.\"\u003c/p>\n\u003cp>The Sweetwater became even more well-known and attracted even more talent when Patterson and Goddard, who owned Village Records in Mill Valley, teamed up to throw private parties at the club.\u003c/p>\n\u003cp>Goddard said the idea was sparked one day when the two were going over a list of Patterson's favorite musicians, and she wondered if she could get Ry Cooder to play a club as small as the Sweetwater. Goddard suggested that maybe he'd play at a private party.\u003c/p>\n\u003cp>Goddard and Patterson threw the party, and Cooder played.\u003c/p>\n\u003cp>\"And from then on we just we just took off,\" Goddard said.\u003c/p>\n\u003cp>Elvis Costello told the \u003ca href=\"https://www.marinij.com/2006/10/12/paul-liberatore-marins-delone-and-costello-together-again/\" target=\"_blank\" rel=\"noopener\">Marin Independent Journal in 2006\u003c/a>, the Sweetwater was the first venue he played in the United States.\u003c/p>\n\u003cfigure id=\"attachment_11732117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732117 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-2-800x566.jpg\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-800x566.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-160x113.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1020x722.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1200x849.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1920x1359.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grateful Dead lead singer Jerry Garcia (L) plays at the Sweetwater with Elvis Costello (R). \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It built the local music scene,\" Goddard said. \"It turned Mill Valley from a place to live to a place to hang out.\"\u003c/p>\n\u003cp>After nearly 20 years of running the Sweetwater, Patterson sold it to local entrepreneur \u003ca href=\"https://www.sfgate.com/entertainment/article/11th-Hour-Reprieve-for-Sweetwater-2969723.php\" target=\"_blank\" rel=\"noopener\">Thomas Steere\u003c/a>. Both her sons died suddenly within in a couple years of each other around that time, and she left Mill Valley.\u003c/p>\n\u003cp>Goddards says the Sweetwater wasn't the same after that. He says Patterson's loving personality and the fact that she lived in the community gave the club a homey feel that most places in Mill Valley just don't have anymore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It was certainly a representation of what Mill Valley was in the '60s, '70s and '80s,\" Goddard said. \"There was a small town character that to me isn't there anymore ... Music was an integral part of our lives. And I think music has turned into the background now.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you walked into the Sweetwater in downtown Mill Valley on a Friday night during the 1980s or '90s, the tiny music venue would be packed. Patrons had to get there early to get a seat at one of the tables clustered close together next to walls plastered in photos and posters.\u003c/p>\n\u003cp>It could only hold about 100 people, but big names including Bob Weir, Elvis Costello, Huey Lewis, Sammy Hagar and Carlos Santana were known to stop by.\u003c/p>\n\u003cp>\"You never knew who was going to come by and sit in. It wasn't announced. It was just there because it was the Sweetwater,\" said Roy Rogers, a blues guitarist who used to play and hang out at Sweetwater.\u003c/p>\n\u003cfigure id=\"attachment_11732115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732115 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-800x642.jpg\" alt=\"\" width=\"800\" height=\"642\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-800x642.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1020x819.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1200x964.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-1920x1542.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Sweetwater owner Jeanie Patterson, local record store owner John Goddard, blues signer and guitarist Bonnie Raitt, and folk and blues singer Maria Muldar stand in front of one of the many walls in the Sweetwater plastered in photos and posters. \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The woman who turned this tiny club into a magnet for top musicians was its longtime owner, Jeanie Patterson, who ran the club from 1979 to 1998 and died of cardiac arrest at the age of 75 in late February.\u003c/p>\n\u003cp>\"It was a one-of-a-kind club that was run by one-of-a-kind person,\" said John Goddard, a friend of Patterson's who owned a well-known record store in Mill Valley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The original Sweetwater shut its doors in 2007, and a group of investors, including the Grateful Dead's Bob Weir, reopened the club at a nearby location in 2012.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ew_FRsurUNI'\n title='//www.youtube.com/embed/ew_FRsurUNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Patterson's sister, Mary Tatter, says her charisma brought so many famous musicians into the tiny venue.\u003c/p>\n\u003cp>\"I think they all felt that from her,\" Tatter said, \"that she really cared about them, and she really cared about music and she was naive and they wanted to help her. And they fell in love with her like everyone has.\"\u003c/p>\n\u003cp>But, according to Tatter, it never went to her head.\u003c/p>\n\u003cp>\"She was very special and very modest and didn't talk about all the people that she knew and had met,\" Tatter said.\u003c/p>\n\u003cp>A lot of those musicians lived in or around Mill Valley, so word about Sweetwater spread. Patterson became friends with Weir, Bill Graham and many others.\u003c/p>\n\u003cfigure id=\"attachment_11732116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732116 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-3-800x643.jpg\" alt=\"\" width=\"800\" height=\"643\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-160x129.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1020x820.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1200x965.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3-1920x1544.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Blues musician Champion Jack Dupree, keyboardist Austin Delone and Sweetwater owner Jeanie Patterson hang out at the downtown Mill Valley music club. \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Everybody knew about it. It was just one of those clubs,\" Rogers said. \"You always knew the quality of the music would be great.\"\u003c/p>\n\u003cp>The Sweetwater became even more well-known and attracted even more talent when Patterson and Goddard, who owned Village Records in Mill Valley, teamed up to throw private parties at the club.\u003c/p>\n\u003cp>Goddard said the idea was sparked one day when the two were going over a list of Patterson's favorite musicians, and she wondered if she could get Ry Cooder to play a club as small as the Sweetwater. Goddard suggested that maybe he'd play at a private party.\u003c/p>\n\u003cp>Goddard and Patterson threw the party, and Cooder played.\u003c/p>\n\u003cp>\"And from then on we just we just took off,\" Goddard said.\u003c/p>\n\u003cp>Elvis Costello told the \u003ca href=\"https://www.marinij.com/2006/10/12/paul-liberatore-marins-delone-and-costello-together-again/\" target=\"_blank\" rel=\"noopener\">Marin Independent Journal in 2006\u003c/a>, the Sweetwater was the first venue he played in the United States.\u003c/p>\n\u003cfigure id=\"attachment_11732117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11732117 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/03/Sweetwater-2-800x566.jpg\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-800x566.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-160x113.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1020x722.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1200x849.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2-1920x1359.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/03/Sweetwater-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grateful Dead lead singer Jerry Garcia (L) plays at the Sweetwater with Elvis Costello (R). \u003ccite>(Courtesy of John Goddard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It built the local music scene,\" Goddard said. \"It turned Mill Valley from a place to live to a place to hang out.\"\u003c/p>\n\u003cp>After nearly 20 years of running the Sweetwater, Patterson sold it to local entrepreneur \u003ca href=\"https://www.sfgate.com/entertainment/article/11th-Hour-Reprieve-for-Sweetwater-2969723.php\" target=\"_blank\" rel=\"noopener\">Thomas Steere\u003c/a>. Both her sons died suddenly within in a couple years of each other around that time, and she left Mill Valley.\u003c/p>\n\u003cp>Goddards says the Sweetwater wasn't the same after that. He says Patterson's loving personality and the fact that she lived in the community gave the club a homey feel that most places in Mill Valley just don't have anymore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It was certainly a representation of what Mill Valley was in the '60s, '70s and '80s,\" Goddard said. \"There was a small town character that to me isn't there anymore ... Music was an integral part of our lives. And I think music has turned into the background now.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Congressman Ro Khanna\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">This week, the House Judiciary Committee sent 81 letters requesting documents from agencies and individuals tied to President Trump as it investigates possible obstruction and corruption. Another House committee asked the Trump administration to turn over documents concerning the security clearances of the president’s closest advisers, including his son-in-law, Jared Kushner. Meanwhile, just days after a U.S.-North Korea summit in Vietnam abruptly ended, new evidence emerged showing North Korea is ramping up its missile program.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We hear from Bay Area Rep. Ro Khanna, a member of the House Committee on Oversight and Reform and the Armed Services Committee, who is co-sponsoring a resolution to declare an end to the Korean War. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">U.S. Rep. Ro Khanna (D-CA)\u003c/span>\u003c/p>\n\u003cp>\u003cb>Facebook’s New Privacy Focus and the IPO Race\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The world’s most profitable and popular social media platform may be getting a major reboot that could usher in a fundamental shift in how social media is shared and consumed. On Wednesday, Facebook CEO Mark Zuckerberg announced his vision of a privacy-focused platform where smaller groups of people would use encrypted and private channels of communication to share messages and other content with other users they know. Last year, Zuckerberg testified before Congress in the wake of a massive data breach affecting millions of its users, highlighting the tension Facebook has with protecting privacy while pursuing profits through targeted ads. Meanwhile, ride-service company Lyft recently filed the first round of documents with the SEC to go public ahead of its bigger rival, Uber, which is also expected to go public later this year. Other Bay Area startups expected to file IPOs soon include Airbnb, Slack and Pinterest. \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\"> Mike Isaac, technology reporter, The New York Times\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Jeremy C. Owens, San Francisco bureau chief, MarketWatch \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>That Lady Thing\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">In San Francisco, a team of creative women is honoring International Women’s Day on Friday with a three-day art pop-up experience that celebrates women and the struggles they face, from wage inequality to harassment. It’s called That Lady Thing, but it’s not your typical art gallery or museum. Visitors to the event can explore what toxic masculinity smells like or try scaling a corporate climbing wall or grabbing fake bills to remind us of the gender wage gap. Last year, when the event was first held, only adults 21 and older could attend. This year, organizers are opening the doors on Sunday, the last day of the event, to teens 14 and older after they received requests from teens, parents and college students to share That Lady Thing’s blend of satire and visual whimsy to bring feminist statements to a younger audience. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\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\">Jamie Shaw, creative director, That Lady Thing\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Sophie Foster, high school student\u003c/span>\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area band The Lumpen only recorded two songs in the 1970s, but the group’s music had a lasting impact on funk. Thanks in part to its loyalty to its parent organization: The Black Panther Party.\u003c/p>\n\u003cp>Read Eric Arnold’s full article on The Lumpen\u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\"> here\u003c/a>.\u003c/p>\n\u003cp>Q’ed Up is hosted and produced by Ryan Levi. This episode was edited by Queena Kim. Follow Ryan on Twitter at @ryan_levi. Send us a note at qedup@kqed.org. Find more Q’ed Up at kqed.org/qedup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland-born and Hayward-raised Mahershala Ali took home his second Oscar in three years on Sunday night, one of several winners with Bay Area connections.\u003c/p>\n\u003cp>Ali won the award for Best Actor in a Supporting Role for his portrayal of world-class pianist Don Shirley in Best Picture winner “Green Book.” In 2017, Ali became the first Muslim actor to win an Oscar when he won in the same category for his role in “Moonlight.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RQhIGLHCt24\u003c/p>\n\u003cp>“I want to dedicate this to my grandmother who has been in my ear my entire life telling me if at first I don’t succeed, try, try again,” Ali said in his acceptance speech. “That I could do anything I put my mind to, always, always pushing me to think positively, and I know that I would not be here without her.”\u003c/p>\n\u003cp>Ali beat out two fellow Northern California products to win the award. Sam Rockwell, who was born in Daly City and grew up in San Francisco, was nominated for his role as former President George W. Bush in “Vice,” and Sacramento’s Sam Elliott earned a nomination for his part in “A Star is Born.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Emeryville-based Pixar failed to follow up last year’s Best Animated Feature winner “Coco” with another win for the superhero film “Incredibles 2,” but it did take home the award for Best Animated Short for “Bao,” a story about a mom, a son and a dumpling that comes to life.\u003c/p>\n\u003cfigure id=\"attachment_11728708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-800x557.jpg\" alt='Becky Neiman-Cobb (L) and Domee Shi, winners of Best Animated Short Film for \"Bao,\" pose in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California.' width=\"800\" height=\"557\" class=\"size-medium wp-image-11728708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-1200x836.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Becky Neiman-Cobb (L) and Domee Shi, winners of Best Animated Short Film for “Bao,” pose in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Ottman called out his experiences as a kid making movies in his parents’ garage in San Jose during his victory speech after winning the Oscar for film editing for “Bohemian Rhapsody.” But some on social media \u003ca href=\"https://popculture.com/movies/2019/02/25/oscars-2019-bohemian-rhapsody-editor-john-ottman-speech-social-media/\" rel=\"noopener\" target=\"_blank\">called Ottman out\u003c/a> for not using the speech to denounce the film’s director, Bryan Singer, who left the project midway through and has \u003ca href=\"https://www.theatlantic.com/magazine/archive/2019/03/bryan-singers-accusers-speak-out/580462/\" rel=\"noopener\" target=\"_blank\">repeatedly\u003c/a> been accused of sexual assault.\u003c/p>\n\u003cp>“Black Panther,” which was directed by Oakland’s Ryan Coogler and included several scenes in The Town, did not win Best Picture, but it still took home three out of the seven awards it was nominated for. \u003ca href=\"https://www.npr.org/2019/02/22/696687965/she-designed-wakanda-and-might-win-an-oscar-for-it\" rel=\"noopener\" target=\"_blank\">Hannah Beachler\u003c/a> and Jay Hart won for production design, \u003ca href=\"https://www.npr.org/2018/02/16/586513016/black-panther-costume-designer-draws-on-the-sacred-geometry-of-africa\" rel=\"noopener\" target=\"_blank\">Ruth Carter\u003c/a> won for costume design and \u003ca href=\"https://www.npr.org/2019/02/23/697124438/how-ludwig-g-ransson-helped-orchestrate-americas-conversation-on-race-in-2018\" rel=\"noopener\" target=\"_blank\">Ludwig Göransson\u003c/a> won for best original score.\u003c/p>\n\u003cp>The film’s sound editing and mixing teams — including \u003ca href=\"https://abc7news.com/entertainment/3-bay-area-men-up-for-sound-mixing-editing-oscars/5149485/\" rel=\"noopener\" target=\"_blank\">Bay Area products\u003c/a> Steve Boeddeker, Brandon Proctor and Benjamin A. Burtt — lost out in both categories to “Bohemian Rhapsody,” and “All the Stars” by Kendrick Lamar, SZA, Mark “Sounwave” Spears and Anthony “Top Dawg” Tiffith failed to upset Lady Gaga’s “Shallow” from “A Star is Born” for Best Original Song.\u003c/p>\n\u003cp>“Free Solo,” a documentary about Alex Honnold, the Sacramento man who became the first person to successfully scale Yosemite’s El Capitan without ropes or harnesses, won for Best Documentary Feature.\u003c/p>\n\u003cp>You can see the full list of winners \u003ca href=\"https://www.npr.org/2019/02/24/697170356/oscars-2019-the-winners\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland-born and Hayward-raised Mahershala Ali took home his second Oscar in three years on Sunday night, one of several winners with Bay Area connections.\u003c/p>\n\u003cp>Ali won the award for Best Actor in a Supporting Role for his portrayal of world-class pianist Don Shirley in Best Picture winner “Green Book.” In 2017, Ali became the first Muslim actor to win an Oscar when he won in the same category for his role in “Moonlight.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RQhIGLHCt24'\n title='//www.youtube.com/embed/RQhIGLHCt24'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I want to dedicate this to my grandmother who has been in my ear my entire life telling me if at first I don’t succeed, try, try again,” Ali said in his acceptance speech. “That I could do anything I put my mind to, always, always pushing me to think positively, and I know that I would not be here without her.”\u003c/p>\n\u003cp>Ali beat out two fellow Northern California products to win the award. Sam Rockwell, who was born in Daly City and grew up in San Francisco, was nominated for his role as former President George W. Bush in “Vice,” and Sacramento’s Sam Elliott earned a nomination for his part in “A Star is Born.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Emeryville-based Pixar failed to follow up last year’s Best Animated Feature winner “Coco” with another win for the superhero film “Incredibles 2,” but it did take home the award for Best Animated Short for “Bao,” a story about a mom, a son and a dumpling that comes to life.\u003c/p>\n\u003cfigure id=\"attachment_11728708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-800x557.jpg\" alt='Becky Neiman-Cobb (L) and Domee Shi, winners of Best Animated Short Film for \"Bao,\" pose in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California.' width=\"800\" height=\"557\" class=\"size-medium wp-image-11728708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut-1200x836.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35448_GettyImages-1131923943-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Becky Neiman-Cobb (L) and Domee Shi, winners of Best Animated Short Film for “Bao,” pose in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Ottman called out his experiences as a kid making movies in his parents’ garage in San Jose during his victory speech after winning the Oscar for film editing for “Bohemian Rhapsody.” But some on social media \u003ca href=\"https://popculture.com/movies/2019/02/25/oscars-2019-bohemian-rhapsody-editor-john-ottman-speech-social-media/\" rel=\"noopener\" target=\"_blank\">called Ottman out\u003c/a> for not using the speech to denounce the film’s director, Bryan Singer, who left the project midway through and has \u003ca href=\"https://www.theatlantic.com/magazine/archive/2019/03/bryan-singers-accusers-speak-out/580462/\" rel=\"noopener\" target=\"_blank\">repeatedly\u003c/a> been accused of sexual assault.\u003c/p>\n\u003cp>“Black Panther,” which was directed by Oakland’s Ryan Coogler and included several scenes in The Town, did not win Best Picture, but it still took home three out of the seven awards it was nominated for. \u003ca href=\"https://www.npr.org/2019/02/22/696687965/she-designed-wakanda-and-might-win-an-oscar-for-it\" rel=\"noopener\" target=\"_blank\">Hannah Beachler\u003c/a> and Jay Hart won for production design, \u003ca href=\"https://www.npr.org/2018/02/16/586513016/black-panther-costume-designer-draws-on-the-sacred-geometry-of-africa\" rel=\"noopener\" target=\"_blank\">Ruth Carter\u003c/a> won for costume design and \u003ca href=\"https://www.npr.org/2019/02/23/697124438/how-ludwig-g-ransson-helped-orchestrate-americas-conversation-on-race-in-2018\" rel=\"noopener\" target=\"_blank\">Ludwig Göransson\u003c/a> won for best original score.\u003c/p>\n\u003cp>The film’s sound editing and mixing teams — including \u003ca href=\"https://abc7news.com/entertainment/3-bay-area-men-up-for-sound-mixing-editing-oscars/5149485/\" rel=\"noopener\" target=\"_blank\">Bay Area products\u003c/a> Steve Boeddeker, Brandon Proctor and Benjamin A. Burtt — lost out in both categories to “Bohemian Rhapsody,” and “All the Stars” by Kendrick Lamar, SZA, Mark “Sounwave” Spears and Anthony “Top Dawg” Tiffith failed to upset Lady Gaga’s “Shallow” from “A Star is Born” for Best Original Song.\u003c/p>\n\u003cp>“Free Solo,” a documentary about Alex Honnold, the Sacramento man who became the first person to successfully scale Yosemite’s El Capitan without ropes or harnesses, won for Best Documentary Feature.\u003c/p>\n\u003cp>You can see the full list of winners \u003ca href=\"https://www.npr.org/2019/02/24/697170356/oscars-2019-the-winners\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-black-joy-parade-returns-to-oakland-for-2nd-year-of-music-dance-and-pride",
"title": "PHOTOS: Black Joy Parade Returns to Oakland for 2nd Year of Music, Dance and Pride",
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"content": "\u003cp>Thousands filled the streets of downtown Oakland on Sunday for the second annual Black Joy Parade.\u003c/p>\n\u003cp>\u003ca href=\"https://www.blackjoyparade.org/\" target=\"_blank\" rel=\"noopener\">Billed\u003c/a> as a “hyper-positive, family-friendly turn up that celebrates the Black experience and our community’s contribution to cultures past, present and future,” the event kicked off with a parade down Broadway and continued with an all-day celebration featuring vendors and musical acts.\u003c/p>\n\u003cp>“I just wanted people to be happy, to celebrate themselves and know what they’re worth, know that they’re great, just the way they are,” said organizer Elisha Greenwell.\u003c/p>\n\u003cp>“It’s important to see black joy as opposed to black sorrow,” said Jamese Conteh, who traveled from Las Vegas with her husband and two kids to attend the event.\u003c/p>\n\u003cfigure id=\"attachment_11728656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728656\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35442_IMG_7416-qut-800x533.jpg\" alt=\"A drum group performs during the Black Joy Parade in downtown Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35442_IMG_7416-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35442_IMG_7416-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35442_IMG_7416-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35442_IMG_7416-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35442_IMG_7416-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A drum group performs during the Black Joy Parade in downtown Oakland. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/gmeline/status/1099776512922812416\u003c/p>\n\u003cfigure id=\"attachment_11728653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728653\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35436_IMG_7399-qut-800x533.jpg\" alt='Grandma Vickie Goins of Oakland brought her granddaughters to the parade: Constance Capers, Kaliyah Capers, Lamariah Hayes, and Emerald Capers. \"I grew up in an atmosphere of black empowerment,\" Goins said. \"My aunt was a Black Panther.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35436_IMG_7399-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35436_IMG_7399-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35436_IMG_7399-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35436_IMG_7399-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35436_IMG_7399-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grandma Vickie Goins of Oakland brought her granddaughters to the parade: Constance Capers, Kaliyah Capers, Lamariah Hayes, and Emerald Capers. “I grew up in an atmosphere of black empowerment,” Goins said. “My aunt was a Black Panther.” \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/gmeline/status/1099782124050079745\u003c/p>\n\u003cfigure id=\"attachment_11728662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728662\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35445_Black-Joy-Pen-1-qut-800x534.jpg\" alt=\"Members of the Prescott Circus School walk in the Black Joy Parade.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35445_Black-Joy-Pen-1-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35445_Black-Joy-Pen-1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35445_Black-Joy-Pen-1-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35445_Black-Joy-Pen-1-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Prescott Circus School walk in the Black Joy Parade. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11728654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728654\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35433_IMG_7395-qut-800x533.jpg\" alt='Miyishia Shay, Tiffany Andrews and Jamala Massenburg have a book club called \"Booktini,\" which focuses on black female authors. Andrews says the parade is a fun time and reminds African-Americans that \"we still exist! It would be nice if it were more than just once a year.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35433_IMG_7395-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35433_IMG_7395-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35433_IMG_7395-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35433_IMG_7395-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35433_IMG_7395-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miyishia Shay, Tiffany Andrews and Jamala Massenburg have a book club called “Booktini,” which focuses on black female authors. Andrews says the parade is a fun time and reminds African-Americans that “we still exist! It would be nice if it were more than just once a year.” \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11728661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728661\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35444_Black-Joy-Pen-2-qut-800x534.jpg\" alt=\"Oakland A's mascot Stomper gets into the swing of the Black Joy Parade.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35444_Black-Joy-Pen-2-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35444_Black-Joy-Pen-2-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35444_Black-Joy-Pen-2-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35444_Black-Joy-Pen-2-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland A’s mascot Stomper gets into the swing of the Black Joy Parade. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11728655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728655\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35437_IMG_7400-qut-800x533.jpg\" alt='\"RB\" on bike he designed and Scraper Bike team leader Chuck Davis pose at the Black Joy Parade in downtown Oakland.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35437_IMG_7400-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35437_IMG_7400-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35437_IMG_7400-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35437_IMG_7400-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35437_IMG_7400-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“RB” on bike he designed and Scraper Bike team leader Chuck Davis pose at the Black Joy Parade in downtown Oakland. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/gmeline/status/1099771458828390402\u003c/p>\n\u003cfigure id=\"attachment_11728657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728657\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35435_IMG_7398-qut-800x533.jpg\" alt=\"The Conteh family came all the way from Las Vegas for the event. Mom Jamese says she wanted to present black culture to her kids in a positive light. "It's important to see black joy as opposed to black sorrow." Son Khamri says being immersed in a see of black people is "awesome. It's amazing!" (L-R: Ibrahim, Jameela,, Jamese and Khamri)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35435_IMG_7398-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35435_IMG_7398-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35435_IMG_7398-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35435_IMG_7398-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35435_IMG_7398-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Conteh family came all the way from Las Vegas for the event. Mom Jamese says she wanted to present black culture to her kids in a positive light. “It’s important to see black joy as opposed to black sorrow.” Son Khamri says being immersed in a see of black people is “awesome. It’s amazing!” (L-R: Ibrahim, Jameela,, Jamese and Khamri) \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/gmeline/status/1099802162668855296\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Pendarvis Harshaw contributed reporting to this post.\u003c/em>\u003c/p>\n\n",
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"title": "PHOTOS: Black Joy Parade Returns to Oakland for 2nd Year of Music, Dance and Pride | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thousands filled the streets of downtown Oakland on Sunday for the second annual Black Joy Parade.\u003c/p>\n\u003cp>\u003ca href=\"https://www.blackjoyparade.org/\" target=\"_blank\" rel=\"noopener\">Billed\u003c/a> as a “hyper-positive, family-friendly turn up that celebrates the Black experience and our community’s contribution to cultures past, present and future,” the event kicked off with a parade down Broadway and continued with an all-day celebration featuring vendors and musical acts.\u003c/p>\n\u003cp>“I just wanted people to be happy, to celebrate themselves and know what they’re worth, know that they’re great, just the way they are,” said organizer Elisha Greenwell.\u003c/p>\n\u003cp>“It’s important to see black joy as opposed to black sorrow,” said Jamese Conteh, who traveled from Las Vegas with her husband and two kids to attend the event.\u003c/p>\n\u003cfigure id=\"attachment_11728656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728656\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35442_IMG_7416-qut-800x533.jpg\" alt=\"A drum group performs during the Black Joy Parade in downtown Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35442_IMG_7416-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35442_IMG_7416-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35442_IMG_7416-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35442_IMG_7416-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35442_IMG_7416-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A drum group performs during the Black Joy Parade in downtown Oakland. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cfigure id=\"attachment_11728653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728653\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35436_IMG_7399-qut-800x533.jpg\" alt='Grandma Vickie Goins of Oakland brought her granddaughters to the parade: Constance Capers, Kaliyah Capers, Lamariah Hayes, and Emerald Capers. \"I grew up in an atmosphere of black empowerment,\" Goins said. \"My aunt was a Black Panther.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35436_IMG_7399-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35436_IMG_7399-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35436_IMG_7399-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35436_IMG_7399-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35436_IMG_7399-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grandma Vickie Goins of Oakland brought her granddaughters to the parade: Constance Capers, Kaliyah Capers, Lamariah Hayes, and Emerald Capers. “I grew up in an atmosphere of black empowerment,” Goins said. “My aunt was a Black Panther.” \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cfigure id=\"attachment_11728662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728662\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35445_Black-Joy-Pen-1-qut-800x534.jpg\" alt=\"Members of the Prescott Circus School walk in the Black Joy Parade.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35445_Black-Joy-Pen-1-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35445_Black-Joy-Pen-1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35445_Black-Joy-Pen-1-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35445_Black-Joy-Pen-1-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Prescott Circus School walk in the Black Joy Parade. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11728654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728654\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35433_IMG_7395-qut-800x533.jpg\" alt='Miyishia Shay, Tiffany Andrews and Jamala Massenburg have a book club called \"Booktini,\" which focuses on black female authors. Andrews says the parade is a fun time and reminds African-Americans that \"we still exist! It would be nice if it were more than just once a year.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35433_IMG_7395-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35433_IMG_7395-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35433_IMG_7395-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35433_IMG_7395-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35433_IMG_7395-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miyishia Shay, Tiffany Andrews and Jamala Massenburg have a book club called “Booktini,” which focuses on black female authors. Andrews says the parade is a fun time and reminds African-Americans that “we still exist! It would be nice if it were more than just once a year.” \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11728661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728661\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35444_Black-Joy-Pen-2-qut-800x534.jpg\" alt=\"Oakland A's mascot Stomper gets into the swing of the Black Joy Parade.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35444_Black-Joy-Pen-2-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35444_Black-Joy-Pen-2-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35444_Black-Joy-Pen-2-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35444_Black-Joy-Pen-2-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland A’s mascot Stomper gets into the swing of the Black Joy Parade. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11728655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728655\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35437_IMG_7400-qut-800x533.jpg\" alt='\"RB\" on bike he designed and Scraper Bike team leader Chuck Davis pose at the Black Joy Parade in downtown Oakland.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35437_IMG_7400-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35437_IMG_7400-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35437_IMG_7400-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35437_IMG_7400-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35437_IMG_7400-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“RB” on bike he designed and Scraper Bike team leader Chuck Davis pose at the Black Joy Parade in downtown Oakland. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"slug": "how-okie-music-changed-californias-and-americas-musical-dna",
"title": "How ‘Okie’ Music Changed California's — and America’s — Musical DNA",
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"headTitle": "How ‘Okie’ Music Changed California’s — and America’s — Musical DNA | KQED",
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"content": "\u003cp>\u003cem>As part of the California Report Magazine’s look at how migration from Oklahoma changed California, host Sasha Khokha spoke with Robert Price, author of \u003ca href=\"https://heydaybooks.com/book/the-bakersfield-sound/\" rel=\"noopener\" target=\"_blank\">“The Bakersfield Sound: How a Generation of Displaced Okies Revolutionized American Music.”\u003c/a> He’s also a longtime columnist and the former executive editor at The Bakersfield Californian. Excerpts from the interview have been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On whether the word “Okie” is a derogatory term:\u003c/strong>\u003c/p>\n\u003cp>At one point in time it was. But over time it became kind of a point of pride [a symbol of their attitude of survival] . Okies called themselves ‘Okies’ and they let everybody else call them Okies as well. Every once in a while you’ll still hear an old-timers say, “Hey that’s not the term we like to hear,” but it’s pretty well accepted now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jBeOddejiGw\u003c/p>\n\u003cp>\u003cstrong>On what defines the Bakersfield sound:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not so much a sound as it is a time and place. It was just a unique period of time between about 1949 and 1970 when Bakersfield was the hot spot, the center of the country music universe. The two main practitioners are Buck Owens and Merle Haggard, and their sounds are not really very much alike. Buck has a rockabilly thing going on, will a little bit of norteño thrown in there. Merle Haggard had more of a western swing and a jazz sensibility. The one thing they all had in common besides that locale was the instrument of choice, the Fender Telecaster. It cut through the bass line, cut through the drums and reverberated off the aluminum siding.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fbEstJ98TcM\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003cstrong>On Merle Haggard’s lyrics about working people:\u003c/strong>\u003c/p>\n\u003cp>He was a blue collar guy. His dad worked for the railroad, and he himself had a lot of manual labor jobs. His audiences were people that worked in the fields picking cotton and picking fruit. He grew up in a converted boxcar in Oildale, adjacent to the Kern River Oil Field, which is one of the biggest oil fields in the lower 48 states. Between oil and agriculture, these were working class people.\u003c/p>\n\u003cfigure id=\"attachment_11728205\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11728205\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut.jpg\" alt=\"\" width=\"1920\" height=\"1261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-1200x788.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Some early Capitol Records marketing for Merle Haggard \u003ccite>(Courtesy of Robert Price Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the ways “Okies” changed California culture:\u003c/strong>\u003c/p>\n\u003cp>The Okies that came west in the mid ’30s through the early ’50s brought with them not just music, but they brought a distinct way of talking. They brought a religious sensibility that hadn’t been on the West Coast before, more of a “praise the Lord out loud” kind of religion. They brought some conservative politics with them. It completely changed California, certainly Central California.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=68cbjlLFl4U&start_radio=1&list=RD68cbjlLFl4U&t=8\u003c/p>\n\u003cp>[Merle Haggard’s] “Okie from Muskogee” really encapsulates those differences. The references to the shaggy long hair in San Francisco, the marijuana smoking. The message was “we’re not like those people.”\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003cstrong>On Buck Owens’ “Rags to Rhinestone” story – and how he rebelled against Nashville:\u003c/strong>\u003c/p>\n\u003cp>Buck Owens early on told himself “I am never going to be poor.” And he lived his life trying to be as unlike his childhood as he possibly could be in terms of his financial circumstances.\u003c/p>\n\u003cfigure id=\"attachment_11728206\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728206\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-800x1008.jpg\" alt=\"\" width=\"800\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-800x1008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-1020x1286.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-952x1200.jpg 952w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut.jpg 1206w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visiting performers Tommy Collins and Buck Owens are shown with Minnie Pearl in this photograph taken in May 1954. These photos are part of a 60-photo exhibition coming to the Kern County Museum at the end of February. \u003ccite>(Courtesy of Buck Owens Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Country music out of Nashville became a lot more orchestrated, with strings and beautiful backing harmonies. In Bakersfield, Buck Owens led a sort of rebellion. Rockabilly and rock ‘n’ roll became more of an influence. And as it turned out the American listening public really liked his sound. And that’s kind of how Bakersfield stole that momentum away from Nashville and kind of became the center of the country music universe for a half a generation or so.\u003c/p>\n\u003cfigure id=\"attachment_11728207\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728207\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-800x634.jpg\" alt=\"\" width=\"800\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-1200x951.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwight Yoakam and Buck Owens sing “Streets of Bakersfield” in 1988. \u003ccite>(Courtesy of Buck Owens Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On women in the “Bakersfield Sound” scene:\u003c/strong>\u003c/p>\n\u003cp>Jean Shepherd recorded the first hit associated with the Bakersfield sound: a duet with Frank Husky called “Dear John.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qx2LK8lx7Zo\u003c/p>\n\u003cp>Jean Shepherd was from Visalia, but she kind of gravitated down to Bakersfield, and then went to Nashville. She lived out a very successful career in Nashville as a member of the Grand Ole Opry.\u003c/p>\n\u003cfigure id=\"attachment_11728204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728204\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-800x607.jpg\" alt=\"\" width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-800x607.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-1020x774.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-1200x911.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Wills, Billy Mize, Jean Shepard, Johnny Caviello (drummer for Bob Wills), and Bill Woods. \u003ccite>(Courtesy of Kern County Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how the Bakersfield Sound changed American music:\u003c/strong>\u003c/p>\n\u003cp>You know you hear so many artists today, country music artists, and rock ‘n’ roll artists, who point to people like Buck Owens and Merle Haggard and the music of the Bakersfield sound as being so influential in their careers. They were both great songwriters in very different sorts of ways, and I think that songwriting sensibility kind of seeped into the minds of a lot of songwriters who came later. It kind of got into the national DNA.\u003c/p>\n\u003cp>\u003cstrong>On what we can learn from the “Okie” experience in California:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story of America is a story of migration. The migration of the Okies is a huge part of American history. People move and they bring their influences to the places they go, and they change those places. The Okies changed California tremendously. Migration is an ongoing thing. The movement of people changes our history.\u003c/p>\n\n",
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"title": "How ‘Okie’ Music Changed California's — and America’s — Musical DNA | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of the California Report Magazine’s look at how migration from Oklahoma changed California, host Sasha Khokha spoke with Robert Price, author of \u003ca href=\"https://heydaybooks.com/book/the-bakersfield-sound/\" rel=\"noopener\" target=\"_blank\">“The Bakersfield Sound: How a Generation of Displaced Okies Revolutionized American Music.”\u003c/a> He’s also a longtime columnist and the former executive editor at The Bakersfield Californian. Excerpts from the interview have been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On whether the word “Okie” is a derogatory term:\u003c/strong>\u003c/p>\n\u003cp>At one point in time it was. But over time it became kind of a point of pride [a symbol of their attitude of survival] . Okies called themselves ‘Okies’ and they let everybody else call them Okies as well. Every once in a while you’ll still hear an old-timers say, “Hey that’s not the term we like to hear,” but it’s pretty well accepted now.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jBeOddejiGw'\n title='//www.youtube.com/embed/jBeOddejiGw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On what defines the Bakersfield sound:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not so much a sound as it is a time and place. It was just a unique period of time between about 1949 and 1970 when Bakersfield was the hot spot, the center of the country music universe. The two main practitioners are Buck Owens and Merle Haggard, and their sounds are not really very much alike. Buck has a rockabilly thing going on, will a little bit of norteño thrown in there. Merle Haggard had more of a western swing and a jazz sensibility. The one thing they all had in common besides that locale was the instrument of choice, the Fender Telecaster. It cut through the bass line, cut through the drums and reverberated off the aluminum siding.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fbEstJ98TcM'\n title='//www.youtube.com/embed/fbEstJ98TcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003cstrong>On Merle Haggard’s lyrics about working people:\u003c/strong>\u003c/p>\n\u003cp>He was a blue collar guy. His dad worked for the railroad, and he himself had a lot of manual labor jobs. His audiences were people that worked in the fields picking cotton and picking fruit. He grew up in a converted boxcar in Oildale, adjacent to the Kern River Oil Field, which is one of the biggest oil fields in the lower 48 states. Between oil and agriculture, these were working class people.\u003c/p>\n\u003cfigure id=\"attachment_11728205\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11728205\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut.jpg\" alt=\"\" width=\"1920\" height=\"1261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-1200x788.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Some early Capitol Records marketing for Merle Haggard \u003ccite>(Courtesy of Robert Price Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the ways “Okies” changed California culture:\u003c/strong>\u003c/p>\n\u003cp>The Okies that came west in the mid ’30s through the early ’50s brought with them not just music, but they brought a distinct way of talking. They brought a religious sensibility that hadn’t been on the West Coast before, more of a “praise the Lord out loud” kind of religion. They brought some conservative politics with them. It completely changed California, certainly Central California.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/68cbjlLFl4U'\n title='//www.youtube.com/embed/68cbjlLFl4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>[Merle Haggard’s] “Okie from Muskogee” really encapsulates those differences. The references to the shaggy long hair in San Francisco, the marijuana smoking. The message was “we’re not like those people.”\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003cstrong>On Buck Owens’ “Rags to Rhinestone” story – and how he rebelled against Nashville:\u003c/strong>\u003c/p>\n\u003cp>Buck Owens early on told himself “I am never going to be poor.” And he lived his life trying to be as unlike his childhood as he possibly could be in terms of his financial circumstances.\u003c/p>\n\u003cfigure id=\"attachment_11728206\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728206\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-800x1008.jpg\" alt=\"\" width=\"800\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-800x1008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-1020x1286.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-952x1200.jpg 952w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut.jpg 1206w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visiting performers Tommy Collins and Buck Owens are shown with Minnie Pearl in this photograph taken in May 1954. These photos are part of a 60-photo exhibition coming to the Kern County Museum at the end of February. \u003ccite>(Courtesy of Buck Owens Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Country music out of Nashville became a lot more orchestrated, with strings and beautiful backing harmonies. In Bakersfield, Buck Owens led a sort of rebellion. Rockabilly and rock ‘n’ roll became more of an influence. And as it turned out the American listening public really liked his sound. And that’s kind of how Bakersfield stole that momentum away from Nashville and kind of became the center of the country music universe for a half a generation or so.\u003c/p>\n\u003cfigure id=\"attachment_11728207\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728207\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-800x634.jpg\" alt=\"\" width=\"800\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-1200x951.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwight Yoakam and Buck Owens sing “Streets of Bakersfield” in 1988. \u003ccite>(Courtesy of Buck Owens Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On women in the “Bakersfield Sound” scene:\u003c/strong>\u003c/p>\n\u003cp>Jean Shepherd recorded the first hit associated with the Bakersfield sound: a duet with Frank Husky called “Dear John.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Qx2LK8lx7Zo'\n title='//www.youtube.com/embed/Qx2LK8lx7Zo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jean Shepherd was from Visalia, but she kind of gravitated down to Bakersfield, and then went to Nashville. She lived out a very successful career in Nashville as a member of the Grand Ole Opry.\u003c/p>\n\u003cfigure id=\"attachment_11728204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728204\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-800x607.jpg\" alt=\"\" width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-800x607.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-1020x774.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-1200x911.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Wills, Billy Mize, Jean Shepard, Johnny Caviello (drummer for Bob Wills), and Bill Woods. \u003ccite>(Courtesy of Kern County Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how the Bakersfield Sound changed American music:\u003c/strong>\u003c/p>\n\u003cp>You know you hear so many artists today, country music artists, and rock ‘n’ roll artists, who point to people like Buck Owens and Merle Haggard and the music of the Bakersfield sound as being so influential in their careers. They were both great songwriters in very different sorts of ways, and I think that songwriting sensibility kind of seeped into the minds of a lot of songwriters who came later. It kind of got into the national DNA.\u003c/p>\n\u003cp>\u003cstrong>On what we can learn from the “Okie” experience in California:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story of America is a story of migration. The migration of the Okies is a huge part of American history. People move and they bring their influences to the places they go, and they change those places. The Okies changed California tremendously. Migration is an ongoing thing. The movement of people changes our history.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Academy Awards are known as Hollywood’s biggest night, but there are some nominees from the northern part of the state who are hoping to win big at Sunday’s Oscars ceremony.\u003c/p>\n\u003cp>\u003cstrong>Mahershala Ali:\u003c/strong> Ali was born in Oakland, grew up in Hayward and went to school at \u003ca href=\"https://www.stmarys-ca.edu/mahershala-ali-96\" rel=\"noopener\" target=\"_blank\">St. Mary’s College\u003c/a> in Moraga. He’s nominated for Best Actor in a Supporting Role for his role in “Green Book.” Ali plays Don Shirley, a world-class pianist who goes on a tour of the South with a white driver in the 1960s.\u003c/p>\n\u003cp>Ali’s performance has been widely praised, while the film itself has received criticism for \u003ca href=\"https://www.vanityfair.com/hollywood/2018/12/truth-about-green-book-viggo-mortensen-mahershala-ali\" rel=\"noopener\" target=\"_blank\">historical inaccuracies\u003c/a> and \u003ca href=\"https://www.salon.com/2018/12/30/hollywood-still-loves-a-white-savior-green-book-and-the-lazy-feel-good-take-on-race/\" rel=\"noopener\" target=\"_blank\">“white savior”\u003c/a> tendencies. But it’s also been racking up awards, including Best Musical or Comedy at the Golden Globes, where Ali took home the prize for Best Actor in a Supporting Role.\u003c/p>\n\u003cp>In 2017, Ali became the first Muslim actor to win an Oscar when he won for his supporting role in that year’s Best Picture winner, “Moonlight.”\u003c/p>\n\u003cp>\u003cstrong>Sam Rockwell:\u003c/strong> Best Actor in a Supporting Role is full of Bay Area representation, with the Daly City-born and San Francisco-raised Rockwell joining Ali. Rockwell is nominated for his take on former President George W. Bush in the Dick Cheney biopic, “Vice.” He’s the reigning winner in the category, taking home the prize last year for his role as a racist cop in “Three Billboards Outside Ebbing, Missouri.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sam Elliott:\u003c/strong> Thought we were done with Best Actor in a Supporting Role? Think again.\u003c/p>\n\u003cp>Sacramento’s Sam Elliott is nominated for his role in “A Star is Born.” He plays Bobby Maine, the older brother and manager of the film’s male lead, played by Bradley Cooper. This is the 74-year-old film and TV veteran’s first Oscar nomination.\u003c/p>\n\u003cp>\u003cstrong>Pixar:\u003c/strong> Emeryville-based Pixar is looking to score a second straight win for Best Animated Feature with “Incredibles 2,” the sequel to the beloved animated superhero film. It took home last year’s award with “Coco.”\u003c/p>\n\u003cp>It’s also nominated in the Best Animated Short category for \u003ca href=\"https://abc7news.com/entertainment/bao-a-story-about-a-dumpling-is-up-for-an-oscar/5148091/\" rel=\"noopener\" target=\"_blank\">“Bao,”\u003c/a> the story of a mother, son and a dumpling that comes to life, which aired before “Incredibles 2” in theaters.\u003c/p>\n\u003cp>\u003cstrong>Lucasfilm:\u003c/strong> Not since the original 1977 “Star Wars” (also known as “Episode IV: A New Hope”) has a Star Wars movie been nominated for Best Picture or received an acting nomination at the Oscars. But the franchise is a \u003ca href=\"https://www.sporcle.com/blog/2017/12/has-a-star-wars-film-ever-won-an-oscar/\" rel=\"noopener\" target=\"_blank\">regular\u003c/a> in the music, visual effects and editing categories, and the latest film in the intergalactic series, “Solo,” is nominated for Visual Effects at this year’s Oscars.\u003c/p>\n\u003cp>\u003cstrong>Industrial Light & Magic\u003c/strong>, a visual effects division within Lucasfilm, did the visual effects for “Solo,” along with fellow nominees “Avengers: Infinity War” and “Ready Player One.”\u003c/p>\n\u003cp>\u003cstrong>“Black Panther”:\u003c/strong> Though the majority of the superhero movie takes place in the fictional African country of Wakanda, “Black Panther” includes a few scenes in \u003ca href=\"https://www.kqed.org/news/11650235/oaklands-two-black-panthers-the-movie-and-the-movement\" rel=\"noopener\" target=\"_blank\">Oakland\u003c/a>, director Ryan Coogler’s hometown. (The film also led to some \u003ca href=\"https://www.kqed.org/arts/13825748/black-panther-success-leads-to-1m-donation-to-oakland-stem-center\" rel=\"noopener\" target=\"_blank\">real-life impacts\u003c/a> in The Town.) The film is up for nominations in seven categories: \u003c/p>\n\u003cul>\n\u003cli>Best Picture: Keven Feige, producer\u003c/li>\n\u003cli>\u003ca href=\"https://www.npr.org/2019/02/22/696687965/she-designed-wakanda-and-might-win-an-oscar-for-it\" rel=\"noopener\" target=\"_blank\">Production Design\u003c/a>: Hannah Beachler and Jay Hart\u003c/li>\n\u003cli>\u003ca href=\"https://abc7news.com/entertainment/3-bay-area-men-up-for-sound-mixing-editing-oscars/5149485/\" rel=\"noopener\" target=\"_blank\">Sound Editing\u003c/a>: Benjamin A. Burtt and Steve Boeddeker\u003c/li>\n\u003cli>\u003ca href=\"https://abc7news.com/entertainment/3-bay-area-men-up-for-sound-mixing-editing-oscars/5149485/\" rel=\"noopener\" target=\"_blank\">Sound Mixing\u003c/a>: Steve Boeddeker, Brandon Proctor and Peter Devlin\u003c/li>\n\u003cli>\u003ca href=\"https://www.npr.org/2018/02/16/586513016/black-panther-costume-designer-draws-on-the-sacred-geometry-of-africa\" rel=\"noopener\" target=\"_blank\">Costume Design\u003c/a>: Ruth Carter\u003c/li>\n\u003cli>\u003ca href=\"https://www.npr.org/2019/02/23/697124438/how-ludwig-g-ransson-helped-orchestrate-americas-conversation-on-race-in-2018\" rel=\"noopener\" target=\"_blank\">Original Score\u003c/a>: Ludwig Goransson\u003c/li>\n\u003cli>Original Song: “All the Stars,” Music by Kendrick Lamar, Mark “Sounwave” Spears and Anthony “Top Dawg” Tiffith; Lyrics by Kendrick Lamar, SZA and Anthony “Top Dawg” Tiffith\u003c/li>\n\u003c/ul>\n\u003cp>Overall, 2018 was a good year for Bay Area films and filmmakers, even the ones not nominated for Academy Awards. “\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\" rel=\"noopener\" target=\"_blank\">Sorry to Bother You\u003c/a>” and “\u003ca href=\"https://www.kqed.org/arts/13837184/blindspotting-is-a-spot-on-portrait-of-an-oakland-in-flux\" rel=\"noopener\" target=\"_blank\">Blindspotting\u003c/a>” are both set in Oakland and received critical acclaim, along with lots of local and \u003ca href=\"https://www.kqed.org/news/11679230/boots-riley-tommy-orange-and-the-summer-of-the-oakland-artist\" rel=\"noopener\" target=\"_blank\">national attention\u003c/a>. But no Oscar or \u003ca href=\"https://www.kqed.org/arts/13846501/sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations\" rel=\"noopener\" target=\"_blank\">Golden Globe\u003c/a> nominations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And here’s the \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2019\" rel=\"noopener\" target=\"_blank\">full list of nominees\u003c/a> you can check out before the show tonight.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Academy Awards are known as Hollywood’s biggest night, but there are some nominees from the northern part of the state who are hoping to win big at Sunday’s Oscars ceremony.\u003c/p>\n\u003cp>\u003cstrong>Mahershala Ali:\u003c/strong> Ali was born in Oakland, grew up in Hayward and went to school at \u003ca href=\"https://www.stmarys-ca.edu/mahershala-ali-96\" rel=\"noopener\" target=\"_blank\">St. Mary’s College\u003c/a> in Moraga. He’s nominated for Best Actor in a Supporting Role for his role in “Green Book.” Ali plays Don Shirley, a world-class pianist who goes on a tour of the South with a white driver in the 1960s.\u003c/p>\n\u003cp>Ali’s performance has been widely praised, while the film itself has received criticism for \u003ca href=\"https://www.vanityfair.com/hollywood/2018/12/truth-about-green-book-viggo-mortensen-mahershala-ali\" rel=\"noopener\" target=\"_blank\">historical inaccuracies\u003c/a> and \u003ca href=\"https://www.salon.com/2018/12/30/hollywood-still-loves-a-white-savior-green-book-and-the-lazy-feel-good-take-on-race/\" rel=\"noopener\" target=\"_blank\">“white savior”\u003c/a> tendencies. But it’s also been racking up awards, including Best Musical or Comedy at the Golden Globes, where Ali took home the prize for Best Actor in a Supporting Role.\u003c/p>\n\u003cp>In 2017, Ali became the first Muslim actor to win an Oscar when he won for his supporting role in that year’s Best Picture winner, “Moonlight.”\u003c/p>\n\u003cp>\u003cstrong>Sam Rockwell:\u003c/strong> Best Actor in a Supporting Role is full of Bay Area representation, with the Daly City-born and San Francisco-raised Rockwell joining Ali. Rockwell is nominated for his take on former President George W. Bush in the Dick Cheney biopic, “Vice.” He’s the reigning winner in the category, taking home the prize last year for his role as a racist cop in “Three Billboards Outside Ebbing, Missouri.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sam Elliott:\u003c/strong> Thought we were done with Best Actor in a Supporting Role? Think again.\u003c/p>\n\u003cp>Sacramento’s Sam Elliott is nominated for his role in “A Star is Born.” He plays Bobby Maine, the older brother and manager of the film’s male lead, played by Bradley Cooper. This is the 74-year-old film and TV veteran’s first Oscar nomination.\u003c/p>\n\u003cp>\u003cstrong>Pixar:\u003c/strong> Emeryville-based Pixar is looking to score a second straight win for Best Animated Feature with “Incredibles 2,” the sequel to the beloved animated superhero film. It took home last year’s award with “Coco.”\u003c/p>\n\u003cp>It’s also nominated in the Best Animated Short category for \u003ca href=\"https://abc7news.com/entertainment/bao-a-story-about-a-dumpling-is-up-for-an-oscar/5148091/\" rel=\"noopener\" target=\"_blank\">“Bao,”\u003c/a> the story of a mother, son and a dumpling that comes to life, which aired before “Incredibles 2” in theaters.\u003c/p>\n\u003cp>\u003cstrong>Lucasfilm:\u003c/strong> Not since the original 1977 “Star Wars” (also known as “Episode IV: A New Hope”) has a Star Wars movie been nominated for Best Picture or received an acting nomination at the Oscars. But the franchise is a \u003ca href=\"https://www.sporcle.com/blog/2017/12/has-a-star-wars-film-ever-won-an-oscar/\" rel=\"noopener\" target=\"_blank\">regular\u003c/a> in the music, visual effects and editing categories, and the latest film in the intergalactic series, “Solo,” is nominated for Visual Effects at this year’s Oscars.\u003c/p>\n\u003cp>\u003cstrong>Industrial Light & Magic\u003c/strong>, a visual effects division within Lucasfilm, did the visual effects for “Solo,” along with fellow nominees “Avengers: Infinity War” and “Ready Player One.”\u003c/p>\n\u003cp>\u003cstrong>“Black Panther”:\u003c/strong> Though the majority of the superhero movie takes place in the fictional African country of Wakanda, “Black Panther” includes a few scenes in \u003ca href=\"https://www.kqed.org/news/11650235/oaklands-two-black-panthers-the-movie-and-the-movement\" rel=\"noopener\" target=\"_blank\">Oakland\u003c/a>, director Ryan Coogler’s hometown. (The film also led to some \u003ca href=\"https://www.kqed.org/arts/13825748/black-panther-success-leads-to-1m-donation-to-oakland-stem-center\" rel=\"noopener\" target=\"_blank\">real-life impacts\u003c/a> in The Town.) The film is up for nominations in seven categories: \u003c/p>\n\u003cul>\n\u003cli>Best Picture: Keven Feige, producer\u003c/li>\n\u003cli>\u003ca href=\"https://www.npr.org/2019/02/22/696687965/she-designed-wakanda-and-might-win-an-oscar-for-it\" rel=\"noopener\" target=\"_blank\">Production Design\u003c/a>: Hannah Beachler and Jay Hart\u003c/li>\n\u003cli>\u003ca href=\"https://abc7news.com/entertainment/3-bay-area-men-up-for-sound-mixing-editing-oscars/5149485/\" rel=\"noopener\" target=\"_blank\">Sound Editing\u003c/a>: Benjamin A. Burtt and Steve Boeddeker\u003c/li>\n\u003cli>\u003ca href=\"https://abc7news.com/entertainment/3-bay-area-men-up-for-sound-mixing-editing-oscars/5149485/\" rel=\"noopener\" target=\"_blank\">Sound Mixing\u003c/a>: Steve Boeddeker, Brandon Proctor and Peter Devlin\u003c/li>\n\u003cli>\u003ca href=\"https://www.npr.org/2018/02/16/586513016/black-panther-costume-designer-draws-on-the-sacred-geometry-of-africa\" rel=\"noopener\" target=\"_blank\">Costume Design\u003c/a>: Ruth Carter\u003c/li>\n\u003cli>\u003ca href=\"https://www.npr.org/2019/02/23/697124438/how-ludwig-g-ransson-helped-orchestrate-americas-conversation-on-race-in-2018\" rel=\"noopener\" target=\"_blank\">Original Score\u003c/a>: Ludwig Goransson\u003c/li>\n\u003cli>Original Song: “All the Stars,” Music by Kendrick Lamar, Mark “Sounwave” Spears and Anthony “Top Dawg” Tiffith; Lyrics by Kendrick Lamar, SZA and Anthony “Top Dawg” Tiffith\u003c/li>\n\u003c/ul>\n\u003cp>Overall, 2018 was a good year for Bay Area films and filmmakers, even the ones not nominated for Academy Awards. “\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\" rel=\"noopener\" target=\"_blank\">Sorry to Bother You\u003c/a>” and “\u003ca href=\"https://www.kqed.org/arts/13837184/blindspotting-is-a-spot-on-portrait-of-an-oakland-in-flux\" rel=\"noopener\" target=\"_blank\">Blindspotting\u003c/a>” are both set in Oakland and received critical acclaim, along with lots of local and \u003ca href=\"https://www.kqed.org/news/11679230/boots-riley-tommy-orange-and-the-summer-of-the-oakland-artist\" rel=\"noopener\" target=\"_blank\">national attention\u003c/a>. But no Oscar or \u003ca href=\"https://www.kqed.org/arts/13846501/sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations\" rel=\"noopener\" target=\"_blank\">Golden Globe\u003c/a> nominations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And here’s the \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2019\" rel=\"noopener\" target=\"_blank\">full list of nominees\u003c/a> you can check out before the show tonight.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Formula E is a new racing circuit, like NASCAR or Formula One, that’s trying to make it big. It can match the old-school circuits in speed, but its electric cars don’t have that same soothing rumble race fans love. Can this sustainability-focused league build and sustain a fan base?\u003c/p>\n\u003cp>Read Craig Miller’s full article on Formula E \u003ca href=\"https://www.kqed.org/science/1937982/from-0-to-60-in-just-seconds-formula-e-electric-car-racing-comes-of-age\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>Q’ed Up is hosted and produced by Ryan Levi. This episode was edited by Jeremy Siegel. Follow Ryan on Twitter at @ryan_levi. Send us a note at qedup@kqed.org. Find more Q’ed Up at kqed.org/qedup.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Electric cars are already all over Bay Area roads. Could Bay Area race tracks be next?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Formula E is a new racing circuit, like NASCAR or Formula One, that’s trying to make it big. It can match the old-school circuits in speed, but its electric cars don’t have that same soothing rumble race fans love. Can this sustainability-focused league build and sustain a fan base?\u003c/p>\n\u003cp>Read Craig Miller’s full article on Formula E \u003ca href=\"https://www.kqed.org/science/1937982/from-0-to-60-in-just-seconds-formula-e-electric-car-racing-comes-of-age\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>Q’ed Up is hosted and produced by Ryan Levi. This episode was edited by Jeremy Siegel. Follow Ryan on Twitter at @ryan_levi. Send us a note at qedup@kqed.org. Find more Q’ed Up at kqed.org/qedup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Black Farmworkers in the Central Valley: Escaping Jim Crow for a Subtler Kind of Racism",
"title": "Black Farmworkers in the Central Valley: Escaping Jim Crow for a Subtler Kind of Racism",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cem>A special thanks to photographer Ernest Lowe, whose photos taken in the 1960s of African-American farmworkers in the San Joaquin Valley provided inspiration for this story. \u003ca href=\"http://ernestlowe.com/black-migrants/\">Those photos are now on display at UC Merced\u003c/a>. Find more photos of the Marshalls, Beaverses and other families at \u003ca href=\"http://ernestlowe.com/\">ErnestLowe.com\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[dropcap]D[/dropcap]rops of rain collect in pools around potted plants outside the Marshall home in South Dos Palos, as a storm rolls into the small farming community about 100 miles southeast of San Jose. A wind chime hanging on the front porch provides background music to a family gathering inside in the living room.\u003c/p>\n\u003cp>Joe, Lee, Zella, David and Marilyn Marshall are five of 13 siblings who grew up on this plot of land. Today, they're all in their 60s and 70s.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The difference between here and the South is just that — it's hidden.'\u003ccite>Joe Marshall\u003c/cite>\u003c/aside>\n\u003cp>When the Marshall siblings’ father moved to the Central Valley from Mississippi in 1944 to work for the railroad, his goal was twofold: make enough money to provide for his wife and children, and put distance between his family and the racist laws of the South.\u003c/p>\n\u003cp>But the brothers say they found California had its own racism.\u003c/p>\n\u003cp>\"The people in the South, they let you know right off the top, you not welcome, you not wanted,” Lee Marshall said. “And, 'Hey, don’t get out of place. You say mister to me.' And they demand that you say 'yes sir' and all this kind of stuff to 'em. It was just straight out, they didn’t hide it. That was better for me 'cause I know where you stand.\"\u003c/p>\n\u003cp>\"These down here, there’s a hidden thing that they use on you,\" Lee Marshall said.\u003c/p>\n\u003cfigure id=\"attachment_11728216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728216\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/MarshallsBarrow-800x800.jpg\" alt=\"The Marshall brothers, including Joe and Lee, in South Dos Palos, 1960s.\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow.jpg 1148w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Marshall brothers, including Joe and Lee, in South Dos Palos, 1960s. \u003ccite>(\u003ca href=\"http://ernestlowe.com/\">Courtesy Ernest Lowe\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lee's brother, Joe Marshall, said it was a more subtle form of racism the brothers faced growing up here.\u003c/p>\n\u003cp>“You know we could go anywhere and eat, it wasn’t a place where you had to go to the back door,” said Joe. “It was nothing like being in the South.”\u003c/p>\n\u003cp>“The difference between here and the South is just that — it’s hidden,” Joe said.\u003c/p>\n\u003cp>And that racism shaped how the Marshalls lived and worked. It also shaped the destiny of their town.\u003c/p>\n\u003cfigure id=\"attachment_11728218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728218\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/Marshalls1-800x725.jpg\" alt=\"The Marshall brothers, including Joe and Lee, in South Dos Palos, 1960s.\" width=\"800\" height=\"725\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/Marshalls1-800x725.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/Marshalls1-160x145.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/Marshalls1-1020x924.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/Marshalls1-1200x1087.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/Marshalls1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Marshall brothers, including Joe and Lee, in South Dos Palos, 1960s. \u003ccite>(\u003ca href=\"http://ernestlowe.com/\">Courtesy Ernest Lowe\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1940s and 1950s, the Marshall brothers say South Dos Palos was thriving. The community was a hub of agricultural business and black-owned cafes, stores and service stations.\u003c/p>\n\u003cp>“Everything in South Dos Palos, except for a few places like behind us, was owned by black people,” Joe Marshall said.\u003c/p>\n\u003cp>Mexican and Central American workers make up the \u003ca href=\"https://www.kqed.org/news/11654965/ice-is-auditing-this-central-valley-grower-again-and-he-blames-california-lawmakers\">bulk of farm labor\u003c/a> in California today, but throughout the 1940s, ‘50s and ‘60s, African-Americans and poor white families — many of them migrants who moved to the state during and after the Dust Bowl storms of the 1930s— also worked in the fields.\u003c/p>\n\u003cfigure id=\"attachment_11728225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728225\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/MarshallsToday-800x540.jpg\" alt=\"Four of 13 of the Marshall siblings stand in the living room of their family home in South Dos Palos. From left to right: Lee, Zella, Joe and Marilyn Marshall.\" width=\"800\" height=\"540\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsToday-800x540.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsToday-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsToday-1020x688.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsToday-1200x809.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsToday.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Four of 13 of the Marshall siblings stand in the living room of their family home in South Dos Palos. From left to right: Lee, Zella, Joe and Marilyn Marshall. \u003ccite>(Alexandra Hall/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To earn money, the Marshall brothers pruned and harvested crops like almonds, lettuce, grapes and cotton, one of California’s top producing crops at the time. They went to work and came back to a home that didn’t have running water or indoor plumbing. They used to be embarrassed to have to tell their girlfriends to use an outdoor toilet when they would come visit.\u003c/p>\n\u003cp>“I’ll never forget, as long as I live, when the city put in the sewer line,” Joe recalls. “And they say 'but, it’s up to each house to dig to hook up to it.' Man, we were digging out there with a smile on! We were thinkin', man we gonna get indoor bathroom! That was the happiest day of my life!”\u003c/p>\n\u003ch3>A Tale of Two Farm Towns\u003c/h3>\n\u003cp>Just a few miles from South Dos Palos is another community called Dos Palos. During the Marshall siblings’ childhood, Dos Palos was a mostly white community. Many of the homes there had the infrastructure that houses in South Dos Palos lacked.\u003c/p>\n\u003cp>“You go down that way further down,” Lee said, “they had all of this and we didn't have it.”\u003c/p>\n\u003cp>When Joe and Lee grew older and wanted a job outside of working in the fields, Dos Palos is where they went to look for one.\u003c/p>\n\u003cp>“You out there waitin’ for a job interview, and behind closed doors they just cuttin’ you down, you’re not wanted,” Lee said.\u003c/p>\n\u003cp>\"I would take that more so than ever, this hidden prejudice which still goes on today in these little towns like this. It’s a hidden thing that can just tear you down. Because you get your confidence up, thinkin’ that you’re on your way. And you got somebody behind closed doors trying to block your way or stop you from doing certain things.\"\u003c/p>\n\u003cfigure id=\"attachment_11728240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728240\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/SouthDosToday-800x514.jpg\" alt=\"South Dos Palos today.\" width=\"800\" height=\"514\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/SouthDosToday-800x514.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/SouthDosToday-160x103.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/SouthDosToday-1020x655.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/SouthDosToday-1200x771.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/SouthDosToday.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">South Dos Palos today. \u003ccite>(Alexandra Hall/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.meissinger.com/index.html\">Michael Eissinger\u003c/a>, an anthropology professor at Fresno State University who studies historically rural African-American settlements in the San Joaquin Valley, said there were many communities in California like South Dos Palos and Dos Palos — a black community and an all-white community just a few miles apart — existing side by side, separate but interdependent.\u003c/p>\n\u003cp>“Racism is not 'I don't like you because of your color.' That's bigotry, prejudice,” Eissinger said. \"Racism is when it is done by the system, by society as a whole, and society is done on the \u003cem>landscape\u003c/em>.”\u003c/p>\n\u003cp>For decades, \u003ca href=\"https://www.kvpr.org/post/diversity-fresno-how-racial-covenants-once-ruled-prestigious-neighborhoods\">racially restrictive covenants\u003c/a>, clauses in deeds to properties that specified who could and could not live there, blocked African-American families, and individuals and families of other races, from buying or renting certain homes, including in California. \u003ca href=\"https://www.kqed.org/lowdown/18486/redlining\">Redlining\u003c/a> created barriers to black families obtaining loans to buy houses in certain neighborhoods.\u003c/p>\n\u003cp>There were also \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5633328\">sundown towns\u003c/a>, places that people of color could visit during the day, but had to leave by the time it got dark. You can still \u003ca href=\"https://sundown.tougaloo.edu/sundowntownsshow.php?state=CA\">see the legacy\u003c/a> of this in the Central Valley today, in towns like Clovis, the nearly all-white, affluent suburb of Fresno, and then again in Stockton and Lodi. These are kindred cities walled off by a brief but mandatory drive through farmed landscape.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two hours south on Highway 99 is another unincorporated town called Teviston. Once occupied by black families living and working on the outskirts of the mostly white community of Pixley, today Latino families populate most of the houses.\u003c/p>\n\u003cp>In 1946, Bertha Mae Beavers moved to Teviston from Oklahoma at the age of 15.\u003c/p>\n\u003cp>“I thought they was, you could just come out here and pick money off trees the way they told it. But shoot, I should have stayed in Oklahoma,” the 89-year-old Beavers recalled. “I did the same thing: chopped cotton, picked cotton. I did it all. And it was rough out here, just like in Oklahoma. You had to work hard for your money.”\u003c/p>\n\u003cfigure id=\"attachment_11728250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728250\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/BerthaMaeAndBen-800x735.jpg\" alt=\"Bertha Mae and Benjamin Beavers in Oklahoma around 1945.\" width=\"800\" height=\"735\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/BerthaMaeAndBen-800x735.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BerthaMaeAndBen-160x147.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BerthaMaeAndBen-1020x937.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BerthaMaeAndBen-1200x1102.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BerthaMaeAndBen.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bertha Mae and Benjamin Beavers in Oklahoma around 1945. \u003ccite>(\u003ca href=\"http://ernestlowe.com/\">Courtesy Ernest Lowe\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortly after she arrived, a white woman was beat up on the railroad tracks near Teviston and Pixley. A rumor circulated that a black man from Teviston had beat the woman. For a while, no black people were allowed in Pixley, Beavers said.\u003c/p>\n\u003cp>“We would go to work, and get off early,” she said. “And come home and the mens would get they guns and set up all night. I was afraid. And it finally, they finally found out who beat the white lady up.”\u003c/p>\n\u003cp>It was the white woman’s husband.\u003c/p>\n\u003cp>“He beat her up and they tried to say the black man down here in Teviston beat 'em,” she said.\u003c/p>\n\u003cp>Beavers was afraid, but she stayed.\u003c/p>\n\u003cp>She eventually married her husband in Teviston, and they had 12 children. The family lived on the outskirts of Pixley and worked in the fields to get by. Like South Dos Palos, homes in Teviston didn’t have running water, gas or indoor plumbing.\u003c/p>\n\u003cfigure id=\"attachment_11728257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728257\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RuthBeavers-800x815.jpg\" alt=\"Ruth Beavers in Teviston, 1960s.\" width=\"800\" height=\"815\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-800x815.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-160x163.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-1020x1039.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-1179x1200.jpg 1179w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-64x64.jpg 64w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Beavers in Teviston, 1960s. \u003ccite>(\u003ca href=\"http://ernestlowe.com/\">Courtesy Ernest Lowe\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Just in the house we lived in, we didn’t have a two bedroom, so with all of us 12 kids we slept in one bedroom. And we could lay in the bed at night ... and see the stars. [Through the] cracks,” recalled Bertha Mae's daughter, Ruth Ann Jones, age 70.\u003c/p>\n\u003cp>The ‘60s transformed California.\u003c/p>\n\u003cp>In 1963, a state law — the \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/kt0b69q1bw/\">Rumford Act, or California Fair Housing Act\u003c/a> — was passed to end discrimination by property owners who refused to sell or rent to African-Americans. In 1964, the same year the Civil Rights Act was passed, the state ballot initiative Proposition 14 nullified the Rumford Act. The California Supreme Court later ruled Proposition 14 was unconstitutional, and the U.S. Supreme Court \u003ca href=\"https://oac.cdlib.org/view?docId=kt5h4nb0wd;NAAN=13030&doc.view=frames&chunk.id=d0e5393&toc.id=d0e831&brand=oac4\">upheld\u003c/a> that decision. The federal Fair Housing Act of 1968 would eventually outlaw housing discrimination nationwide.\u003c/p>\n\u003cp>Around this time, labor organizer Cesar Chavez and a growing movement of farmworkers fighting for better pay and working conditions was \u003ca href=\"https://ufw.org/research/history/ufw-history/\">gaining momentum in the Central Valley\u003c/a>. While some black workers were involved, the movement was largely Chicano and Filipino.\u003c/p>\n\u003cp>“Where it really started at was in the grapes,” said Ruth Jones’ husband, CL Jones. “They wanted to change things. And they did, you know, make things a lot better for some.”\u003c/p>\n\u003cp>When Latino farmworkers began staying in the San Joaquin Valley in greater numbers, instead of going back and forth to Mexico, it began changing the black-white dynamic of Teviston and Pixley.\u003c/p>\n\u003cfigure id=\"attachment_11728260\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728260\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/StoveLighting-800x787.jpg\" alt=\"Benny Beavers lights the family's Box King stove.\" width=\"800\" height=\"787\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-800x787.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-160x157.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-1020x1003.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-1200x1180.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-64x64.jpg 64w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Benny Beavers lights the family's Box King stove. \u003ccite>(\u003ca href=\"http://ernestlowe.com/\">Courtesy Ernest Lowe\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Beavers family noticed something in the Latino families moving into the area. Something that was completely unfamiliar: a certain boldness and lack of fear that black families coming from the South felt they couldn’t afford to have.\u003c/p>\n\u003cp>When Teviston’s residents pushed to get a community well and gas in their homes, some African-American families distanced themselves from upgrades.\u003c/p>\n\u003cfigure id=\"attachment_11728263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728263\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/BeaversTruck-800x556.jpg\" alt=\"Lula Jenkins, Annie and Goldie Beavers, and Deloris and Joyce Perry ride in the back of a pickup hauling water in Teviston.\" width=\"800\" height=\"556\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversTruck-800x556.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversTruck-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversTruck-1020x709.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversTruck-1200x834.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversTruck.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lula Jenkins, Annie and Goldie Beavers, and Deloris and Joyce Perry ride in the back of a pickup hauling water in Teviston. \u003ccite>(\u003ca href=\"http://ernestlowe.com/\">Courtesy Ernest Lowe\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They were scared the white people could come take their property or take their house so they didn’t really want no gas,” another Beavers daughter, Annie Jo Ellis, age 65, said. “[Because] this is what you grew up with: fear.”\u003c/p>\n\u003cp>Around the 1970s and ‘80s, Bertha Mae’s children were able to get out of farm labor, and find new jobs. A few worked at nearby schools as lunch ladies and at the post office.\u003c/p>\n\u003cp>“We as black people, I don’t think fought as hard as we should have... for what we wanted,” Ruth said.\u003c/p>\n\u003cp>“You know when you come from Oklahoma, you didn’t really have nothin’,” Annie said. “So now you got a little something and they was raised that the white man takes everything. So they just get out here and they still scared of the white man. Let’s tell the truth about it, they were scared ... of white people.”\u003c/p>\n\u003cfigure id=\"attachment_11728265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728265\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/BeaversToday-800x532.jpg\" alt=\"The Beavers family stands outside Friendship Baptist Church in Teviston. The church is one of two still standing in the unincorporated community just south of Pixley.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversToday-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversToday-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversToday-1020x678.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversToday-1200x798.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversToday.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Beavers family stands outside Friendship Baptist Church in Teviston. The church is one of two still standing in the unincorporated community just south of Pixley. \u003ccite>(Alexandra Hall/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you go to Teviston now, you can see homes scattered throughout the town, but it's not much of a town. There are no businesses, just a boarded-up gas station and two churches. The Beavers still have mixed feelings about how their community has evolved.\u003c/p>\n\u003cp>“I’ll tell you what we used to say when we was growin’ up,\" said CL Jones. \"The white people are watchin’ the wrong people. They was keepin us down, and the Hispanics was steady gettin’ ahead.\"\u003c/p>\n\u003cp>In South Dos Palos, as the Marshall siblings grew older and started their own families, they encouraged their children to go to school or work other jobs, anything to stay out of the fields.\u003c/p>\n\u003cp>“There were no jobs that the young blacks wanted to do,” Joe Marshall said. “And then I saw this town kinda dryin’ up. To where, when you come over, you could stop on any corner and holler at somebody and talk for a few minutes. I can come over here now, I might not see nobody! It’s a ghost town. The Mexicans were still working in the fields. And all of a sudden, you started lookin’ up, Mexicans bought this land, build a nice house. Better than some of the houses that’s been here.”\u003c/p>\n\u003cp>But it was OK with Joe, because his kids were getting out and getting ahead.\u003c/p>\n\u003cp>“It was just an opportunity for [Latinos],” he said. “Our misfortune and their fortune, to be able to come in and buy something and build. To this day, there’s still no jobs here. So you can’t expect this town to grow.”\u003c/p>\n\u003cp>Nowadays, South Dos Palos is still a gathering place for the Marshall family.\u003c/p>\n\u003cp>They return here for small gatherings and large family reunions. Every April, hundreds of extended relatives fill the street to celebrate their mother’s birthday. She passed away several years ago.\u003c/p>\n\u003cp>Joe looks at his Latino neighbors and can relate to what they’re going through. He knows no one would work in the fields if they didn't have to.\u003c/p>\n\u003cp>“You don’t see any blacks out there (in the fields) now, you don’t see any whites out there now. It’s all Latinos now. And you want to cry about 'they’re doing our jobs'? No. They didn’t take a job from me. I gave it to them.”\u003c/p>\n\u003cp>\"We paid our dues far as laborin’ hard in the fields,” Lee Marshall said. “And believe me, I don’t wanna do it. Whoever wanna do it, I just pray for 'em.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The Marshall and Beavers families moved to California in the 1940s for better jobs, and to escape the Jim Crow policies of the South. Instead, they found California had its own racism and segregation.",
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"description": "The Marshall and Beavers families moved to California in the 1940s for better jobs, and to escape the Jim Crow policies of the South. Instead, they found California had its own racism and segregation.",
"title": "Black Farmworkers in the Central Valley: Escaping Jim Crow for a Subtler Kind of Racism | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cem>A special thanks to photographer Ernest Lowe, whose photos taken in the 1960s of African-American farmworkers in the San Joaquin Valley provided inspiration for this story. \u003ca href=\"http://ernestlowe.com/black-migrants/\">Those photos are now on display at UC Merced\u003c/a>. Find more photos of the Marshalls, Beaverses and other families at \u003ca href=\"http://ernestlowe.com/\">ErnestLowe.com\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">D\u003c/span>\u003c/p>\u003cp>rops of rain collect in pools around potted plants outside the Marshall home in South Dos Palos, as a storm rolls into the small farming community about 100 miles southeast of San Jose. A wind chime hanging on the front porch provides background music to a family gathering inside in the living room.\u003c/p>\n\u003cp>Joe, Lee, Zella, David and Marilyn Marshall are five of 13 siblings who grew up on this plot of land. Today, they're all in their 60s and 70s.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The difference between here and the South is just that — it's hidden.'\u003ccite>Joe Marshall\u003c/cite>\u003c/aside>\n\u003cp>When the Marshall siblings’ father moved to the Central Valley from Mississippi in 1944 to work for the railroad, his goal was twofold: make enough money to provide for his wife and children, and put distance between his family and the racist laws of the South.\u003c/p>\n\u003cp>But the brothers say they found California had its own racism.\u003c/p>\n\u003cp>\"The people in the South, they let you know right off the top, you not welcome, you not wanted,” Lee Marshall said. “And, 'Hey, don’t get out of place. You say mister to me.' And they demand that you say 'yes sir' and all this kind of stuff to 'em. It was just straight out, they didn’t hide it. That was better for me 'cause I know where you stand.\"\u003c/p>\n\u003cp>\"These down here, there’s a hidden thing that they use on you,\" Lee Marshall said.\u003c/p>\n\u003cfigure id=\"attachment_11728216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728216\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/MarshallsBarrow-800x800.jpg\" alt=\"The Marshall brothers, including Joe and Lee, in South Dos Palos, 1960s.\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsBarrow.jpg 1148w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Marshall brothers, including Joe and Lee, in South Dos Palos, 1960s. \u003ccite>(\u003ca href=\"http://ernestlowe.com/\">Courtesy Ernest Lowe\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lee's brother, Joe Marshall, said it was a more subtle form of racism the brothers faced growing up here.\u003c/p>\n\u003cp>“You know we could go anywhere and eat, it wasn’t a place where you had to go to the back door,” said Joe. “It was nothing like being in the South.”\u003c/p>\n\u003cp>“The difference between here and the South is just that — it’s hidden,” Joe said.\u003c/p>\n\u003cp>And that racism shaped how the Marshalls lived and worked. It also shaped the destiny of their town.\u003c/p>\n\u003cfigure id=\"attachment_11728218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728218\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/Marshalls1-800x725.jpg\" alt=\"The Marshall brothers, including Joe and Lee, in South Dos Palos, 1960s.\" width=\"800\" height=\"725\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/Marshalls1-800x725.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/Marshalls1-160x145.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/Marshalls1-1020x924.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/Marshalls1-1200x1087.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/Marshalls1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Marshall brothers, including Joe and Lee, in South Dos Palos, 1960s. \u003ccite>(\u003ca href=\"http://ernestlowe.com/\">Courtesy Ernest Lowe\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1940s and 1950s, the Marshall brothers say South Dos Palos was thriving. The community was a hub of agricultural business and black-owned cafes, stores and service stations.\u003c/p>\n\u003cp>“Everything in South Dos Palos, except for a few places like behind us, was owned by black people,” Joe Marshall said.\u003c/p>\n\u003cp>Mexican and Central American workers make up the \u003ca href=\"https://www.kqed.org/news/11654965/ice-is-auditing-this-central-valley-grower-again-and-he-blames-california-lawmakers\">bulk of farm labor\u003c/a> in California today, but throughout the 1940s, ‘50s and ‘60s, African-Americans and poor white families — many of them migrants who moved to the state during and after the Dust Bowl storms of the 1930s— also worked in the fields.\u003c/p>\n\u003cfigure id=\"attachment_11728225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728225\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/MarshallsToday-800x540.jpg\" alt=\"Four of 13 of the Marshall siblings stand in the living room of their family home in South Dos Palos. From left to right: Lee, Zella, Joe and Marilyn Marshall.\" width=\"800\" height=\"540\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsToday-800x540.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsToday-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsToday-1020x688.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsToday-1200x809.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/MarshallsToday.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Four of 13 of the Marshall siblings stand in the living room of their family home in South Dos Palos. From left to right: Lee, Zella, Joe and Marilyn Marshall. \u003ccite>(Alexandra Hall/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To earn money, the Marshall brothers pruned and harvested crops like almonds, lettuce, grapes and cotton, one of California’s top producing crops at the time. They went to work and came back to a home that didn’t have running water or indoor plumbing. They used to be embarrassed to have to tell their girlfriends to use an outdoor toilet when they would come visit.\u003c/p>\n\u003cp>“I’ll never forget, as long as I live, when the city put in the sewer line,” Joe recalls. “And they say 'but, it’s up to each house to dig to hook up to it.' Man, we were digging out there with a smile on! We were thinkin', man we gonna get indoor bathroom! That was the happiest day of my life!”\u003c/p>\n\u003ch3>A Tale of Two Farm Towns\u003c/h3>\n\u003cp>Just a few miles from South Dos Palos is another community called Dos Palos. During the Marshall siblings’ childhood, Dos Palos was a mostly white community. Many of the homes there had the infrastructure that houses in South Dos Palos lacked.\u003c/p>\n\u003cp>“You go down that way further down,” Lee said, “they had all of this and we didn't have it.”\u003c/p>\n\u003cp>When Joe and Lee grew older and wanted a job outside of working in the fields, Dos Palos is where they went to look for one.\u003c/p>\n\u003cp>“You out there waitin’ for a job interview, and behind closed doors they just cuttin’ you down, you’re not wanted,” Lee said.\u003c/p>\n\u003cp>\"I would take that more so than ever, this hidden prejudice which still goes on today in these little towns like this. It’s a hidden thing that can just tear you down. Because you get your confidence up, thinkin’ that you’re on your way. And you got somebody behind closed doors trying to block your way or stop you from doing certain things.\"\u003c/p>\n\u003cfigure id=\"attachment_11728240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728240\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/SouthDosToday-800x514.jpg\" alt=\"South Dos Palos today.\" width=\"800\" height=\"514\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/SouthDosToday-800x514.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/SouthDosToday-160x103.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/SouthDosToday-1020x655.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/SouthDosToday-1200x771.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/SouthDosToday.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">South Dos Palos today. \u003ccite>(Alexandra Hall/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.meissinger.com/index.html\">Michael Eissinger\u003c/a>, an anthropology professor at Fresno State University who studies historically rural African-American settlements in the San Joaquin Valley, said there were many communities in California like South Dos Palos and Dos Palos — a black community and an all-white community just a few miles apart — existing side by side, separate but interdependent.\u003c/p>\n\u003cp>“Racism is not 'I don't like you because of your color.' That's bigotry, prejudice,” Eissinger said. \"Racism is when it is done by the system, by society as a whole, and society is done on the \u003cem>landscape\u003c/em>.”\u003c/p>\n\u003cp>For decades, \u003ca href=\"https://www.kvpr.org/post/diversity-fresno-how-racial-covenants-once-ruled-prestigious-neighborhoods\">racially restrictive covenants\u003c/a>, clauses in deeds to properties that specified who could and could not live there, blocked African-American families, and individuals and families of other races, from buying or renting certain homes, including in California. \u003ca href=\"https://www.kqed.org/lowdown/18486/redlining\">Redlining\u003c/a> created barriers to black families obtaining loans to buy houses in certain neighborhoods.\u003c/p>\n\u003cp>There were also \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5633328\">sundown towns\u003c/a>, places that people of color could visit during the day, but had to leave by the time it got dark. You can still \u003ca href=\"https://sundown.tougaloo.edu/sundowntownsshow.php?state=CA\">see the legacy\u003c/a> of this in the Central Valley today, in towns like Clovis, the nearly all-white, affluent suburb of Fresno, and then again in Stockton and Lodi. These are kindred cities walled off by a brief but mandatory drive through farmed landscape.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two hours south on Highway 99 is another unincorporated town called Teviston. Once occupied by black families living and working on the outskirts of the mostly white community of Pixley, today Latino families populate most of the houses.\u003c/p>\n\u003cp>In 1946, Bertha Mae Beavers moved to Teviston from Oklahoma at the age of 15.\u003c/p>\n\u003cp>“I thought they was, you could just come out here and pick money off trees the way they told it. But shoot, I should have stayed in Oklahoma,” the 89-year-old Beavers recalled. “I did the same thing: chopped cotton, picked cotton. I did it all. And it was rough out here, just like in Oklahoma. You had to work hard for your money.”\u003c/p>\n\u003cfigure id=\"attachment_11728250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728250\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/BerthaMaeAndBen-800x735.jpg\" alt=\"Bertha Mae and Benjamin Beavers in Oklahoma around 1945.\" width=\"800\" height=\"735\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/BerthaMaeAndBen-800x735.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BerthaMaeAndBen-160x147.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BerthaMaeAndBen-1020x937.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BerthaMaeAndBen-1200x1102.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BerthaMaeAndBen.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bertha Mae and Benjamin Beavers in Oklahoma around 1945. \u003ccite>(\u003ca href=\"http://ernestlowe.com/\">Courtesy Ernest Lowe\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortly after she arrived, a white woman was beat up on the railroad tracks near Teviston and Pixley. A rumor circulated that a black man from Teviston had beat the woman. For a while, no black people were allowed in Pixley, Beavers said.\u003c/p>\n\u003cp>“We would go to work, and get off early,” she said. “And come home and the mens would get they guns and set up all night. I was afraid. And it finally, they finally found out who beat the white lady up.”\u003c/p>\n\u003cp>It was the white woman’s husband.\u003c/p>\n\u003cp>“He beat her up and they tried to say the black man down here in Teviston beat 'em,” she said.\u003c/p>\n\u003cp>Beavers was afraid, but she stayed.\u003c/p>\n\u003cp>She eventually married her husband in Teviston, and they had 12 children. The family lived on the outskirts of Pixley and worked in the fields to get by. Like South Dos Palos, homes in Teviston didn’t have running water, gas or indoor plumbing.\u003c/p>\n\u003cfigure id=\"attachment_11728257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728257\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RuthBeavers-800x815.jpg\" alt=\"Ruth Beavers in Teviston, 1960s.\" width=\"800\" height=\"815\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-800x815.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-160x163.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-1020x1039.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-1179x1200.jpg 1179w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RuthBeavers-64x64.jpg 64w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Beavers in Teviston, 1960s. \u003ccite>(\u003ca href=\"http://ernestlowe.com/\">Courtesy Ernest Lowe\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Just in the house we lived in, we didn’t have a two bedroom, so with all of us 12 kids we slept in one bedroom. And we could lay in the bed at night ... and see the stars. [Through the] cracks,” recalled Bertha Mae's daughter, Ruth Ann Jones, age 70.\u003c/p>\n\u003cp>The ‘60s transformed California.\u003c/p>\n\u003cp>In 1963, a state law — the \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/kt0b69q1bw/\">Rumford Act, or California Fair Housing Act\u003c/a> — was passed to end discrimination by property owners who refused to sell or rent to African-Americans. In 1964, the same year the Civil Rights Act was passed, the state ballot initiative Proposition 14 nullified the Rumford Act. The California Supreme Court later ruled Proposition 14 was unconstitutional, and the U.S. Supreme Court \u003ca href=\"https://oac.cdlib.org/view?docId=kt5h4nb0wd;NAAN=13030&doc.view=frames&chunk.id=d0e5393&toc.id=d0e831&brand=oac4\">upheld\u003c/a> that decision. The federal Fair Housing Act of 1968 would eventually outlaw housing discrimination nationwide.\u003c/p>\n\u003cp>Around this time, labor organizer Cesar Chavez and a growing movement of farmworkers fighting for better pay and working conditions was \u003ca href=\"https://ufw.org/research/history/ufw-history/\">gaining momentum in the Central Valley\u003c/a>. While some black workers were involved, the movement was largely Chicano and Filipino.\u003c/p>\n\u003cp>“Where it really started at was in the grapes,” said Ruth Jones’ husband, CL Jones. “They wanted to change things. And they did, you know, make things a lot better for some.”\u003c/p>\n\u003cp>When Latino farmworkers began staying in the San Joaquin Valley in greater numbers, instead of going back and forth to Mexico, it began changing the black-white dynamic of Teviston and Pixley.\u003c/p>\n\u003cfigure id=\"attachment_11728260\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728260\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/StoveLighting-800x787.jpg\" alt=\"Benny Beavers lights the family's Box King stove.\" width=\"800\" height=\"787\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-800x787.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-160x157.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-1020x1003.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-1200x1180.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/StoveLighting-64x64.jpg 64w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Benny Beavers lights the family's Box King stove. \u003ccite>(\u003ca href=\"http://ernestlowe.com/\">Courtesy Ernest Lowe\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Beavers family noticed something in the Latino families moving into the area. Something that was completely unfamiliar: a certain boldness and lack of fear that black families coming from the South felt they couldn’t afford to have.\u003c/p>\n\u003cp>When Teviston’s residents pushed to get a community well and gas in their homes, some African-American families distanced themselves from upgrades.\u003c/p>\n\u003cfigure id=\"attachment_11728263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728263\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/BeaversTruck-800x556.jpg\" alt=\"Lula Jenkins, Annie and Goldie Beavers, and Deloris and Joyce Perry ride in the back of a pickup hauling water in Teviston.\" width=\"800\" height=\"556\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversTruck-800x556.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversTruck-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversTruck-1020x709.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversTruck-1200x834.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversTruck.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lula Jenkins, Annie and Goldie Beavers, and Deloris and Joyce Perry ride in the back of a pickup hauling water in Teviston. \u003ccite>(\u003ca href=\"http://ernestlowe.com/\">Courtesy Ernest Lowe\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They were scared the white people could come take their property or take their house so they didn’t really want no gas,” another Beavers daughter, Annie Jo Ellis, age 65, said. “[Because] this is what you grew up with: fear.”\u003c/p>\n\u003cp>Around the 1970s and ‘80s, Bertha Mae’s children were able to get out of farm labor, and find new jobs. A few worked at nearby schools as lunch ladies and at the post office.\u003c/p>\n\u003cp>“We as black people, I don’t think fought as hard as we should have... for what we wanted,” Ruth said.\u003c/p>\n\u003cp>“You know when you come from Oklahoma, you didn’t really have nothin’,” Annie said. “So now you got a little something and they was raised that the white man takes everything. So they just get out here and they still scared of the white man. Let’s tell the truth about it, they were scared ... of white people.”\u003c/p>\n\u003cfigure id=\"attachment_11728265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11728265\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/BeaversToday-800x532.jpg\" alt=\"The Beavers family stands outside Friendship Baptist Church in Teviston. The church is one of two still standing in the unincorporated community just south of Pixley.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversToday-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversToday-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversToday-1020x678.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversToday-1200x798.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/BeaversToday.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Beavers family stands outside Friendship Baptist Church in Teviston. The church is one of two still standing in the unincorporated community just south of Pixley. \u003ccite>(Alexandra Hall/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you go to Teviston now, you can see homes scattered throughout the town, but it's not much of a town. There are no businesses, just a boarded-up gas station and two churches. The Beavers still have mixed feelings about how their community has evolved.\u003c/p>\n\u003cp>“I’ll tell you what we used to say when we was growin’ up,\" said CL Jones. \"The white people are watchin’ the wrong people. They was keepin us down, and the Hispanics was steady gettin’ ahead.\"\u003c/p>\n\u003cp>In South Dos Palos, as the Marshall siblings grew older and started their own families, they encouraged their children to go to school or work other jobs, anything to stay out of the fields.\u003c/p>\n\u003cp>“There were no jobs that the young blacks wanted to do,” Joe Marshall said. “And then I saw this town kinda dryin’ up. To where, when you come over, you could stop on any corner and holler at somebody and talk for a few minutes. I can come over here now, I might not see nobody! It’s a ghost town. The Mexicans were still working in the fields. And all of a sudden, you started lookin’ up, Mexicans bought this land, build a nice house. Better than some of the houses that’s been here.”\u003c/p>\n\u003cp>But it was OK with Joe, because his kids were getting out and getting ahead.\u003c/p>\n\u003cp>“It was just an opportunity for [Latinos],” he said. “Our misfortune and their fortune, to be able to come in and buy something and build. To this day, there’s still no jobs here. So you can’t expect this town to grow.”\u003c/p>\n\u003cp>Nowadays, South Dos Palos is still a gathering place for the Marshall family.\u003c/p>\n\u003cp>They return here for small gatherings and large family reunions. Every April, hundreds of extended relatives fill the street to celebrate their mother’s birthday. She passed away several years ago.\u003c/p>\n\u003cp>Joe looks at his Latino neighbors and can relate to what they’re going through. He knows no one would work in the fields if they didn't have to.\u003c/p>\n\u003cp>“You don’t see any blacks out there (in the fields) now, you don’t see any whites out there now. It’s all Latinos now. And you want to cry about 'they’re doing our jobs'? No. They didn’t take a job from me. I gave it to them.”\u003c/p>\n\u003cp>\"We paid our dues far as laborin’ hard in the fields,” Lee Marshall said. “And believe me, I don’t wanna do it. Whoever wanna do it, I just pray for 'em.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>False reports of an active shooter prompted a panicked audience to flee San Francisco’s SHN Orpheum Theatre Friday night during a performance of the musical “Hamilton.” Four people were injured and taken to the hospital.\u003c/p>\n\u003cp>At 9:51 p.m., during the performance, a woman in the audience had a medical emergency. A bystander treated the victim with an automated external defibrillator, which triggered an alarm.\u003c/p>\n\u003cp>To add to the confusion, the medical incident coincided with a gun shot in the play and an audience member shouted, “gun,” according to an account on Twitter.\u003c/p>\n\u003cp>https://twitter.com/JoeKhalilTV/status/1096651355484114944\u003c/p>\n\u003cp>In the panic to exit the theater, three adults suffered injuries with one person breaking a leg and two people suffering moderate injuries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco Fire and Police Departments responded to the incident and confirmed it was not due to an intentional act.\u003c/p>\n\u003cp>https://twitter.com/travislodolce/status/1096650254085046273\u003c/p>\n\u003cp>The three people injured were transported to a local hospital, along with the original patient who suffered the medical emergency, who was eventually revived. She was in critical condition Friday night, according to the fire department.\u003c/p>\n\u003cp>The Hamilton cast evacuated as well, and a video posted to Twitter shows them returning after the chaos subsided. Theater-goers went back into the theater to retrieve items they left behind.\u003c/p>\n\u003cp>“The producers of “Hamilton” and SHN are reviewing the events that brought an abrupt end to the performance in San Francisco last night and resulted in alarm and confusion for the audience at the SHN Orpheum Theatre,” Scott Walton, a spokesperson for SHN, told KQED in an email. “Along with SHN, the owners of the Orpheum, we remain dedicated to protecting the safety of our audiences and our own company members in every city where Hamilton plays.”\u003c/p>\n\u003cp>Walton said SHN is in the process of contacting attendees to invite them back for another performance of the hit-musical at the Orpheum.\u003c/p>\n\u003cp>https://twitter.com/sam1sf/status/1096662385937473536\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/JoeKhalilTV/status/1096653330032472064\u003c/p>\n\n",
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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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},
"baycurious": {
"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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},
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},
"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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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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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.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
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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": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"source": "npr"
},
"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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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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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/",
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