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"content": "\u003cp>In Asia, \u003ca href=\"https://m.imdb.com/name/nm0943079/filmotype/actor?ref_=m_nmfm_1\" target=\"_blank\" rel=\"noopener\">Daniel Wu\u003c/a> says he can’t walk down the street without being mobbed by fans. \"It's like Beatlemania,\" Wu says. \"They want a piece of you.\"\u003c/p>\n\u003cp>But here in his native California, the Chinese-American movie star passes more or less unrecognized, even though he has more than 60 big screen credits to his name, including 2014 Chinese action thriller \"That Demon Within\" and \"City of Glass.\" That film won Wu a \"Best New Performer\" nomination at the Hong Kong film awards back in 1998, when he was just starting out.\u003c/p>\n\u003cp>With Hollywood starting to pay more attention to long-sidelined Asian talent, Wu may not be able to lead a normal life in the U.S. for much longer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5KyHy4KRvIc\u003c/p>\n\u003cp>These days, Wu stars in the dystopian AMC TV action series \"\u003ca href=\"https://www.amc.com/shows/into-the-badlands\" target=\"_blank\" rel=\"noopener\">Into the Badlands\u003c/a>.\" It's his first major TV role in the U.S. His character, Sunny, is a lethal warrior on a quest to discover the truth about his past, and he gets into a lot of fights -- he estimates being involved in more than 30 skirmishes over the course of three seasons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At 43, Wu is in fantastic shape: wiry and lean, with the chiseled features of a boy-band frontman. Even so, all those fight scenes take a toll on the body. The actor has dealt with a torn ACL and broken ankle over the years. He doesn’t want to end up like his mentor and former manager, Chinese action hero \u003ca href=\"https://www.imdb.com/name/nm0000329/\" target=\"_blank\" rel=\"noopener\">Jackie Chan\u003c/a>.\u003c/p>\n\u003cp>\"I didn't want to be that 60-year-old guy with, like, 'I can't stand up because my discs and my back are crushed,'\" Wu says. \"And that’s how Jackie is.\"\u003c/p>\n\u003cp>So lately, Wu's been changing up his training regimen.\u003c/p>\n\u003cp>https://youtu.be/F-VOALl4_vQ\u003c/p>\n\u003cp>At \u003ca href=\"http://www.theopenmatt.com/\" target=\"_blank\" rel=\"noopener\">The Open Matt\u003c/a>, a tucked-away dojo in Oakland near Wu's home, the actor practices acrobatic kicks up and down the room with his coach, Matt Lucas.\u003c/p>\n\u003cp>But they spend more time stretching and doing yoga than they do on hardcore fight moves. \"In my 20s, kicking a hundred times was not a problem,\" Wu says. \"In my 40s, it can be a problem. There's only so much tread on those tires, you know. So I'm doing it smarter.\"\u003c/p>\n\u003cp>Wu’s career path seems improbable when you consider his sheltered, middle-class, Bay Area upbringing. He shares his story during a tour of the UC Berkeley's East Asian Library, which recently acquired one of the country's most comprehensive archives of Chinese movie memorabilia, the \u003ca href=\"http://exhibits.lib.berkeley.edu/spotlight/fonoroff-collection/about/about-the-fonoroff-collection\" target=\"_blank\" rel=\"noopener\">Fonoroff Collection\u003c/a>. (Wu is one of the library's new board members, and hadn't seen this collection yet. It includes posters and other artifacts relating to movies he appeared in during the 1990s, among nearly a hundred years of film history.)\u003c/p>\n\u003cfigure id=\"attachment_11679392\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg class=\"size-full wp-image-11679392\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/young-and-dangerous-the-prequel.jpg\" alt=\"A film poster for 'Young and Dangerous The Prequel,' one of Daniel Wu's early movies.\" width=\"320\" height=\"445\">\u003cfigcaption class=\"wp-caption-text\">A film poster for 'Young and Dangerous The Prequel,' one of Daniel Wu's early movies. \u003ccite>(Photo: Courtesy of the UC Berkeley East Asian Library's Fonoroff Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we walk through the library, Wu tells me his highly educated, career-driven parents emigrated to the U.S. from Shanghai via Hong Kong and Taiwan in the 1950s.\u003c/p>\n\u003cp>They had two girls, and then a son. But he died, tragically, at the age of two in an auto accident on the UC Berkeley campus.\u003c/p>\n\u003cp>\"They were up at the Lawrence Hall of Science and he was hit by a car in the parking lot,\" Wu says.\u003c/p>\n\u003cp>Wu says his parents wouldn’t speak about his older brother, who died before he was born, for years. So when he came along, they were very protective.\u003c/p>\n\u003cp>\"They would not let me play football,\" Wu says. \"They would not let me do a lot of things that were dangerous, where I could get hurt. Of course, I go into martial arts. And then I'm an action star, where danger happens almost on a daily basis.\"\u003c/p>\n\u003cp>Wu's passion for martial arts stems from old kung fu movies he saw on TV as a kid.\u003c/p>\n\u003cp>One day when Wu was seven years old, his grandfather took him to San Francisco’s Chinatown to see the film \"Shaolin Temple\" starring Jet Li. \u003c/p>\n\u003cp>\"It was just so exciting,\" Wu says. \"I got home, and I was like, 'Mom, I want to learn kung fu!'”\u003c/p>\n\u003cfigure id=\"attachment_11679390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11679390\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/Fonoroff-Collection-better-800x600.jpg\" alt=\"Daniel Wu holds up a poster of one of his films while touring the Fonoroff Collection at UC Berkeley's East Asian Library.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Wu holds up a poster of one of his films while touring the Fonoroff Collection at UC Berkeley's East Asian Library. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His mom said no. But after a few years, she caved. From the age of 12, Wu trained locally. As an architecture major at the University of Oregon, \u003ca href=\"https://blogs.uoregon.edu/wushu/history/\" target=\"_blank\" rel=\"noopener\">he started a club focused on wushu\u003c/a>, a non-combative style of kung fu. Wu is proud of the fact that the club he founded is still running today.\u003c/p>\n\u003cp>Then, in 1997, after graduating, Wu headed for Hong Kong to witness the handover from Britain to China.\u003c/p>\n\u003cp>He was having a drink in a Hong Kong bar about a month after the handover when a talent scout approached him about appearing in a TV commercial. Wu says he had already given up on a career in architecture, and besides, he needed the money. \u003c/p>\n\u003cp>\"I was a poor student,\" he recalls.\u003c/p>\n\u003cp>It just so happened that Hong Kong film director Yonfan caught the ad and gave Wu his first big break. The director tapped the novice to play one of the leads in \"Bishonen,\" his drama about an ill-fated gay romance.\u003c/p>\n\u003cp>\u003ciframe frameborder=\"0\" width=\"640\" height=\"368\" src=\"https://www.dailymotion.com/embed/video/x979im\" allowfullscreen allow=\"autoplay\">\u003c/iframe>\u003c/p>\n\u003cp>Wu lacked fluency in Cantonese -- he grew up speaking Shanghai dialect and English at home in California. Plus, he had next to no acting experience. So he turned \"Yonfan\" down at first. But the director was persistent. \u003c/p>\n\u003cp>\"By the end, I said, 'OK, if you don't blame me for screwing it up, I'll give it a shot,'\" Wu says. \"And then once I got on set the first day, I was like, 'Oh this is what I've been looking for.'\"\u003c/p>\n\u003cp>Wu says it was initially hard for him to break in to the local film industry as an \"ABC\" -- American-born Chinese. \"Even though I'm the same skin color, same hair color, same culture, I was treated differently at first,\" Wu says.\u003c/p>\n\u003cp>But after a couple of years, Wu says the Hong Kong film community fully accepted him. He went on to amass major celebrity, wealth and accolades across Asia for his work over two decades. \u003c/p>\n\u003cp>\"You feel a sense of belonging; you feel wanted; you feel like you have value to these people and that what you're doing is making them happy,\" Wu says. \"That's the most touching thing that's happened to me.\"\u003c/p>\n\u003cp>Eventually, Wu's name started to become known outside of China. At least, it did among kung fu cognoscenti like hip-hop artist and movie director RZA, who cast the actor in his martial arts film \"The Man with the Iron Fists.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6FyGHAUpSIQ\u003c/p>\n\u003cp>RZA shot the movie in 2011 in China with a mixed cast of Asian and Hollywood actors. The project involved big names like Russell Crowe and Quentin Tarantino. But RZA says no one made as much of an impression on the set as Wu did. \u003c/p>\n\u003cp>\"I'm telling you, nobody gave two cents shit about none of us,\" RZA says. \"When Danny came on the set, everybody went crazy. And all of a sudden I was making a movie.\"\u003c/p>\n\u003cp>But Hollywood continued largely to ignore Wu. The actor says he returned to California for meetings with movie executives on occasion, and usually came away disappointed.\u003c/p>\n\u003cp>\"They don't really know what they're looking for,\" he says. \"They're just looking for someone 'Chinese' or 'Asian.' I'm not sitting in a room auditioning for a role that's just based on my race.\"\u003c/p>\n\u003cp>Recently, however, Wu says things have started to change, thanks to the dynamics of the marketplace. In addition to \"Into the Badlands,\" Wu also appeared in the recent movie \"Tomb Raider.\" That's because China has become a key financial market for Hollywood.\u003c/p>\n\u003cfigure id=\"attachment_11679399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11679399 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_0474-e1530926842910-800x568.jpg\" alt=\"Daniel Wu at Caffe Strada in Berkeley.\" width=\"800\" height=\"568\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-1020x724.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-1200x852.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-1920x1363.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-960x682.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-240x170.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-375x266.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Wu at Caffe Strada in Berkeley. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this year, \u003ca href=\"https://www.cnbc.com/2018/05/24/china-beats-us-box-office-in-q1-and-is-entering-new-growth-cycle-hsbc.html\" target=\"_blank\" rel=\"noopener\">China beat North America in box office revenue for the first time\u003c/a>, fueling expectations that it might soon become the world’s number one movie market. And according to \u003ca href=\"http://www.boxofficemojo.com/\" target=\"_blank\" rel=\"noopener\">IMDbPro’s \u003c/a> Box Office Mojo, recent Hollywood blockbusters like \"The Mummy,\" \"Ready Player One\" and \"Transformers: The Last Knight\" have done better box office in China than they have in the U.S.\u003c/p>\n\u003cp>Now, Wu says Hollywood is starting to take the talent pool more seriously after decades of offering Asian actors little more than minor, racially stereotyped character parts. \u003c/p>\n\u003cp>\"They realize that the Chinese audiences are much smarter than that and get pissed off when you do something like that to our beloved actors,\" Wu says. \"And they won’t go see the movie.\"\u003c/p>\n\u003cp>Wu points to Sung Kang, known to audiences through \"The Fast and the Furious\" franchise, \u003ca href=\"https://www.imdb.com/name/nm0196654/\" target=\"_blank\" rel=\"noopener\">Daniel Dae Kim\u003c/a> from the \"Lost\" TV series, and the \"Harold and Kumar\" films' \u003ca href=\"https://www.imdb.com/name/nm0158626/\" target=\"_blank\" rel=\"noopener\">John Cho\u003c/a> as fellow Asian-American actors now making it in the U.S.\u003c/p>\n\u003cp>\"All these guys have been working for so long and finally making it into shows,\" Wu says. \"But it's still not at the point where I'd like it to be.\"\u003c/p>\n\u003cfigure id=\"attachment_11679391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11679391\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/training-800x600.jpg\" alt=\"Daniel Wu and his trainer, Matt Lucas, work out at The Open Matt, a dojo in Oakland.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Wu and his trainer, Matt Lucas, work out at The Open Matt, a dojo in Oakland. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wu says a new generation of Hollywood executives that grew up in a more multicultural environment than those previously in charge of the purse strings can now change casting dynamics for the better.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"With the people in power now having that exposure, they are consciously trying to make more diverse films,\" Wu says. \"They're starting to bring in actors of different races and cultures.\"\u003c/p>\n\n",
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"excerpt": "In Asia, Daniel Wu can’t walk down the street without being mobbed by fans. But here in his native California, he passes more or less unrecognized.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Asia, \u003ca href=\"https://m.imdb.com/name/nm0943079/filmotype/actor?ref_=m_nmfm_1\" target=\"_blank\" rel=\"noopener\">Daniel Wu\u003c/a> says he can’t walk down the street without being mobbed by fans. \"It's like Beatlemania,\" Wu says. \"They want a piece of you.\"\u003c/p>\n\u003cp>But here in his native California, the Chinese-American movie star passes more or less unrecognized, even though he has more than 60 big screen credits to his name, including 2014 Chinese action thriller \"That Demon Within\" and \"City of Glass.\" That film won Wu a \"Best New Performer\" nomination at the Hong Kong film awards back in 1998, when he was just starting out.\u003c/p>\n\u003cp>With Hollywood starting to pay more attention to long-sidelined Asian talent, Wu may not be able to lead a normal life in the U.S. for much longer.\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/5KyHy4KRvIc'\n title='//www.youtube.com/embed/5KyHy4KRvIc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>These days, Wu stars in the dystopian AMC TV action series \"\u003ca href=\"https://www.amc.com/shows/into-the-badlands\" target=\"_blank\" rel=\"noopener\">Into the Badlands\u003c/a>.\" It's his first major TV role in the U.S. His character, Sunny, is a lethal warrior on a quest to discover the truth about his past, and he gets into a lot of fights -- he estimates being involved in more than 30 skirmishes over the course of three seasons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At 43, Wu is in fantastic shape: wiry and lean, with the chiseled features of a boy-band frontman. Even so, all those fight scenes take a toll on the body. The actor has dealt with a torn ACL and broken ankle over the years. He doesn’t want to end up like his mentor and former manager, Chinese action hero \u003ca href=\"https://www.imdb.com/name/nm0000329/\" target=\"_blank\" rel=\"noopener\">Jackie Chan\u003c/a>.\u003c/p>\n\u003cp>\"I didn't want to be that 60-year-old guy with, like, 'I can't stand up because my discs and my back are crushed,'\" Wu says. \"And that’s how Jackie is.\"\u003c/p>\n\u003cp>So lately, Wu's been changing up his training regimen.\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/F-VOALl4_vQ'\n title='//www.youtube.com/embed/F-VOALl4_vQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At \u003ca href=\"http://www.theopenmatt.com/\" target=\"_blank\" rel=\"noopener\">The Open Matt\u003c/a>, a tucked-away dojo in Oakland near Wu's home, the actor practices acrobatic kicks up and down the room with his coach, Matt Lucas.\u003c/p>\n\u003cp>But they spend more time stretching and doing yoga than they do on hardcore fight moves. \"In my 20s, kicking a hundred times was not a problem,\" Wu says. \"In my 40s, it can be a problem. There's only so much tread on those tires, you know. So I'm doing it smarter.\"\u003c/p>\n\u003cp>Wu’s career path seems improbable when you consider his sheltered, middle-class, Bay Area upbringing. He shares his story during a tour of the UC Berkeley's East Asian Library, which recently acquired one of the country's most comprehensive archives of Chinese movie memorabilia, the \u003ca href=\"http://exhibits.lib.berkeley.edu/spotlight/fonoroff-collection/about/about-the-fonoroff-collection\" target=\"_blank\" rel=\"noopener\">Fonoroff Collection\u003c/a>. (Wu is one of the library's new board members, and hadn't seen this collection yet. It includes posters and other artifacts relating to movies he appeared in during the 1990s, among nearly a hundred years of film history.)\u003c/p>\n\u003cfigure id=\"attachment_11679392\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg class=\"size-full wp-image-11679392\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/young-and-dangerous-the-prequel.jpg\" alt=\"A film poster for 'Young and Dangerous The Prequel,' one of Daniel Wu's early movies.\" width=\"320\" height=\"445\">\u003cfigcaption class=\"wp-caption-text\">A film poster for 'Young and Dangerous The Prequel,' one of Daniel Wu's early movies. \u003ccite>(Photo: Courtesy of the UC Berkeley East Asian Library's Fonoroff Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we walk through the library, Wu tells me his highly educated, career-driven parents emigrated to the U.S. from Shanghai via Hong Kong and Taiwan in the 1950s.\u003c/p>\n\u003cp>They had two girls, and then a son. But he died, tragically, at the age of two in an auto accident on the UC Berkeley campus.\u003c/p>\n\u003cp>\"They were up at the Lawrence Hall of Science and he was hit by a car in the parking lot,\" Wu says.\u003c/p>\n\u003cp>Wu says his parents wouldn’t speak about his older brother, who died before he was born, for years. So when he came along, they were very protective.\u003c/p>\n\u003cp>\"They would not let me play football,\" Wu says. \"They would not let me do a lot of things that were dangerous, where I could get hurt. Of course, I go into martial arts. And then I'm an action star, where danger happens almost on a daily basis.\"\u003c/p>\n\u003cp>Wu's passion for martial arts stems from old kung fu movies he saw on TV as a kid.\u003c/p>\n\u003cp>One day when Wu was seven years old, his grandfather took him to San Francisco’s Chinatown to see the film \"Shaolin Temple\" starring Jet Li. \u003c/p>\n\u003cp>\"It was just so exciting,\" Wu says. \"I got home, and I was like, 'Mom, I want to learn kung fu!'”\u003c/p>\n\u003cfigure id=\"attachment_11679390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11679390\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/Fonoroff-Collection-better-800x600.jpg\" alt=\"Daniel Wu holds up a poster of one of his films while touring the Fonoroff Collection at UC Berkeley's East Asian Library.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Fonoroff-Collection-better-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Wu holds up a poster of one of his films while touring the Fonoroff Collection at UC Berkeley's East Asian Library. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His mom said no. But after a few years, she caved. From the age of 12, Wu trained locally. As an architecture major at the University of Oregon, \u003ca href=\"https://blogs.uoregon.edu/wushu/history/\" target=\"_blank\" rel=\"noopener\">he started a club focused on wushu\u003c/a>, a non-combative style of kung fu. Wu is proud of the fact that the club he founded is still running today.\u003c/p>\n\u003cp>Then, in 1997, after graduating, Wu headed for Hong Kong to witness the handover from Britain to China.\u003c/p>\n\u003cp>He was having a drink in a Hong Kong bar about a month after the handover when a talent scout approached him about appearing in a TV commercial. Wu says he had already given up on a career in architecture, and besides, he needed the money. \u003c/p>\n\u003cp>\"I was a poor student,\" he recalls.\u003c/p>\n\u003cp>It just so happened that Hong Kong film director Yonfan caught the ad and gave Wu his first big break. The director tapped the novice to play one of the leads in \"Bishonen,\" his drama about an ill-fated gay romance.\u003c/p>\n\u003cp>\u003ciframe frameborder=\"0\" width=\"640\" height=\"368\" src=\"https://www.dailymotion.com/embed/video/x979im\" allowfullscreen allow=\"autoplay\">\u003c/iframe>\u003c/p>\n\u003cp>Wu lacked fluency in Cantonese -- he grew up speaking Shanghai dialect and English at home in California. Plus, he had next to no acting experience. So he turned \"Yonfan\" down at first. But the director was persistent. \u003c/p>\n\u003cp>\"By the end, I said, 'OK, if you don't blame me for screwing it up, I'll give it a shot,'\" Wu says. \"And then once I got on set the first day, I was like, 'Oh this is what I've been looking for.'\"\u003c/p>\n\u003cp>Wu says it was initially hard for him to break in to the local film industry as an \"ABC\" -- American-born Chinese. \"Even though I'm the same skin color, same hair color, same culture, I was treated differently at first,\" Wu says.\u003c/p>\n\u003cp>But after a couple of years, Wu says the Hong Kong film community fully accepted him. He went on to amass major celebrity, wealth and accolades across Asia for his work over two decades. \u003c/p>\n\u003cp>\"You feel a sense of belonging; you feel wanted; you feel like you have value to these people and that what you're doing is making them happy,\" Wu says. \"That's the most touching thing that's happened to me.\"\u003c/p>\n\u003cp>Eventually, Wu's name started to become known outside of China. At least, it did among kung fu cognoscenti like hip-hop artist and movie director RZA, who cast the actor in his martial arts film \"The Man with the Iron Fists.\"\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/6FyGHAUpSIQ'\n title='//www.youtube.com/embed/6FyGHAUpSIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>RZA shot the movie in 2011 in China with a mixed cast of Asian and Hollywood actors. The project involved big names like Russell Crowe and Quentin Tarantino. But RZA says no one made as much of an impression on the set as Wu did. \u003c/p>\n\u003cp>\"I'm telling you, nobody gave two cents shit about none of us,\" RZA says. \"When Danny came on the set, everybody went crazy. And all of a sudden I was making a movie.\"\u003c/p>\n\u003cp>But Hollywood continued largely to ignore Wu. The actor says he returned to California for meetings with movie executives on occasion, and usually came away disappointed.\u003c/p>\n\u003cp>\"They don't really know what they're looking for,\" he says. \"They're just looking for someone 'Chinese' or 'Asian.' I'm not sitting in a room auditioning for a role that's just based on my race.\"\u003c/p>\n\u003cp>Recently, however, Wu says things have started to change, thanks to the dynamics of the marketplace. In addition to \"Into the Badlands,\" Wu also appeared in the recent movie \"Tomb Raider.\" That's because China has become a key financial market for Hollywood.\u003c/p>\n\u003cfigure id=\"attachment_11679399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11679399 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_0474-e1530926842910-800x568.jpg\" alt=\"Daniel Wu at Caffe Strada in Berkeley.\" width=\"800\" height=\"568\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-1020x724.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-1200x852.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-1920x1363.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-960x682.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-240x170.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-375x266.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/IMG_0474-e1530926842910-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Wu at Caffe Strada in Berkeley. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this year, \u003ca href=\"https://www.cnbc.com/2018/05/24/china-beats-us-box-office-in-q1-and-is-entering-new-growth-cycle-hsbc.html\" target=\"_blank\" rel=\"noopener\">China beat North America in box office revenue for the first time\u003c/a>, fueling expectations that it might soon become the world’s number one movie market. And according to \u003ca href=\"http://www.boxofficemojo.com/\" target=\"_blank\" rel=\"noopener\">IMDbPro’s \u003c/a> Box Office Mojo, recent Hollywood blockbusters like \"The Mummy,\" \"Ready Player One\" and \"Transformers: The Last Knight\" have done better box office in China than they have in the U.S.\u003c/p>\n\u003cp>Now, Wu says Hollywood is starting to take the talent pool more seriously after decades of offering Asian actors little more than minor, racially stereotyped character parts. \u003c/p>\n\u003cp>\"They realize that the Chinese audiences are much smarter than that and get pissed off when you do something like that to our beloved actors,\" Wu says. \"And they won’t go see the movie.\"\u003c/p>\n\u003cp>Wu points to Sung Kang, known to audiences through \"The Fast and the Furious\" franchise, \u003ca href=\"https://www.imdb.com/name/nm0196654/\" target=\"_blank\" rel=\"noopener\">Daniel Dae Kim\u003c/a> from the \"Lost\" TV series, and the \"Harold and Kumar\" films' \u003ca href=\"https://www.imdb.com/name/nm0158626/\" target=\"_blank\" rel=\"noopener\">John Cho\u003c/a> as fellow Asian-American actors now making it in the U.S.\u003c/p>\n\u003cp>\"All these guys have been working for so long and finally making it into shows,\" Wu says. \"But it's still not at the point where I'd like it to be.\"\u003c/p>\n\u003cfigure id=\"attachment_11679391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11679391\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/training-800x600.jpg\" alt=\"Daniel Wu and his trainer, Matt Lucas, work out at The Open Matt, a dojo in Oakland.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/training-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Wu and his trainer, Matt Lucas, work out at The Open Matt, a dojo in Oakland. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wu says a new generation of Hollywood executives that grew up in a more multicultural environment than those previously in charge of the purse strings can now change casting dynamics for the better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"With the people in power now having that exposure, they are consciously trying to make more diverse films,\" Wu says. \"They're starting to bring in actors of different races and cultures.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Brady Bunch' House is Ready For a New Story",
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"content": "\u003cp>The story continues for a house Americans used to visit every week. “The Brady Bunch” house is ready for a new family.\u003c/p>\n\u003cp>The famous home featured in the beginning and ending credits of the 1970s sitcom “The Brady Bunch” is for sale, according to \u003ca href=\"http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-brady-bunch-20180718-story.html\" rel=\"noopener\" target=\"_blank\">a report by the Los Angeles Times\u003c/a>.\u003c/p>\n\u003cp>This is the first time that the home has been on the market in nearly 50 years. And it’s going for a pretty hefty price — $1.85 million. This is a huge jump from what it sold for in 1973, at $61,000.\u003c/p>\n\u003cp>Megafans may be disappointed to know that inside, the house looks very different from the sitcom set with its large open staircase. The show was filmed in a Los Angeles studio. \u003c/p>\n\u003cp>The house’s \u003ca href=\"https://www.zillow.com/homedetails/11222-Dilling-St-North-Hollywood-CA-91602/20025974_zpid/\" rel=\"noopener\" target=\"_blank\">Zillow listing\u003c/a> promotes it as a three-bedroom, three-bathroom family home with nearly 2,500 square feet of living space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just as in the perfect fictional home created in the studio, the real house located in LA’s Studio City neighborhood retains the look of the 1970s.\u003c/p>\n\u003cp>According to the listing, the home boasts “perfectly preserved 1970s décor,” which includes wooden panels, a stone fireplace, living room bar and original MusiCall intercom and whole-house radio. If that isn’t appealing enough, listing agent Ernie Carswell is expecting the house to get looks based on the \u003cem>Brady Bunch\u003c/em> name alone.\u003c/p>\n\u003cp>“We’re preparing for an avalanche. Emails, telephone calls — we may see upwards of 500 calls a day,” Carswell told the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>He isn’t wrong. The Zillow listing has more than 500 saves and over 32,000 views — after being posted for less than a day.\u003c/p>\n\u003cp>So who exactly is the target buyer for a house that has its \u003ca href=\"https://www.yelp.com/biz/brady-bunch-house-los-angeles\" rel=\"noopener\" target=\"_blank\">own Yelp page\u003c/a> and fan base?\u003c/p>\n\u003cp>Carswell said the property will be shown by appointment only in an effort to separate the fans from the serious buyers. He also said the current owners are looking for buyers who want to keep the house intact.\u003c/p>\n\u003cp>In the meantime, Twitter is having fun imagining some very Brady scenarios.\u003c/p>\n\u003cp>“It would be cool if one of the Brady Bunch cast members bought the house … keep it in the family!!!” Ms. V \u003ca href=\"https://twitter.com/vnnyvngs/status/1019933128620732416\" rel=\"noopener\" target=\"_blank\">tweeted\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/vnnyvngs/status/1019933128620732416\u003c/p>\n\u003cp>“By chance, have there been any reports of unusual phenomena taking place as a result of a previous occupant’s procurement of a tiki idol? What I’m really wondering is, is this place infested with tarantulas?” Sir Richard Pumpaloaf \u003ca href=\"https://twitter.com/DickPumpaloaf/status/1019914700010577920\" rel=\"noopener\" target=\"_blank\">tweeted\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/DickPumpaloaf/status/1019914700010577920\u003c/p>\n\u003cp>“I have so many questions! How did 11 people fit in a 2 bedroom house??? Did all the kids share 1 room???” For Tha Kids \u003ca href=\"https://twitter.com/Garrett_Roussel/status/1019952967150194688\" rel=\"noopener\" target=\"_blank\">tweeted\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Brady+Bunch%27+House+Is+Ready+For+A+New+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/Garrett_Roussel/status/1019952967150194688\u003c/p>\n\n",
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"excerpt": "Does this house look familiar? It appeared during the beginning and ending credits of \"The Brady Bunch\" and is now for sale.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The story continues for a house Americans used to visit every week. “The Brady Bunch” house is ready for a new family.\u003c/p>\n\u003cp>The famous home featured in the beginning and ending credits of the 1970s sitcom “The Brady Bunch” is for sale, according to \u003ca href=\"http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-brady-bunch-20180718-story.html\" rel=\"noopener\" target=\"_blank\">a report by the Los Angeles Times\u003c/a>.\u003c/p>\n\u003cp>This is the first time that the home has been on the market in nearly 50 years. And it’s going for a pretty hefty price — $1.85 million. This is a huge jump from what it sold for in 1973, at $61,000.\u003c/p>\n\u003cp>Megafans may be disappointed to know that inside, the house looks very different from the sitcom set with its large open staircase. The show was filmed in a Los Angeles studio. \u003c/p>\n\u003cp>The house’s \u003ca href=\"https://www.zillow.com/homedetails/11222-Dilling-St-North-Hollywood-CA-91602/20025974_zpid/\" rel=\"noopener\" target=\"_blank\">Zillow listing\u003c/a> promotes it as a three-bedroom, three-bathroom family home with nearly 2,500 square feet of living space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just as in the perfect fictional home created in the studio, the real house located in LA’s Studio City neighborhood retains the look of the 1970s.\u003c/p>\n\u003cp>According to the listing, the home boasts “perfectly preserved 1970s décor,” which includes wooden panels, a stone fireplace, living room bar and original MusiCall intercom and whole-house radio. If that isn’t appealing enough, listing agent Ernie Carswell is expecting the house to get looks based on the \u003cem>Brady Bunch\u003c/em> name alone.\u003c/p>\n\u003cp>“We’re preparing for an avalanche. Emails, telephone calls — we may see upwards of 500 calls a day,” Carswell told the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>He isn’t wrong. The Zillow listing has more than 500 saves and over 32,000 views — after being posted for less than a day.\u003c/p>\n\u003cp>So who exactly is the target buyer for a house that has its \u003ca href=\"https://www.yelp.com/biz/brady-bunch-house-los-angeles\" rel=\"noopener\" target=\"_blank\">own Yelp page\u003c/a> and fan base?\u003c/p>\n\u003cp>Carswell said the property will be shown by appointment only in an effort to separate the fans from the serious buyers. He also said the current owners are looking for buyers who want to keep the house intact.\u003c/p>\n\u003cp>In the meantime, Twitter is having fun imagining some very Brady scenarios.\u003c/p>\n\u003cp>“It would be cool if one of the Brady Bunch cast members bought the house … keep it in the family!!!” Ms. V \u003ca href=\"https://twitter.com/vnnyvngs/status/1019933128620732416\" rel=\"noopener\" target=\"_blank\">tweeted\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“By chance, have there been any reports of unusual phenomena taking place as a result of a previous occupant’s procurement of a tiki idol? What I’m really wondering is, is this place infested with tarantulas?” Sir Richard Pumpaloaf \u003ca href=\"https://twitter.com/DickPumpaloaf/status/1019914700010577920\" rel=\"noopener\" target=\"_blank\">tweeted\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I have so many questions! How did 11 people fit in a 2 bedroom house??? Did all the kids share 1 room???” For Tha Kids \u003ca href=\"https://twitter.com/Garrett_Roussel/status/1019952967150194688\" rel=\"noopener\" target=\"_blank\">tweeted\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Brady+Bunch%27+House+Is+Ready+For+A+New+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Former President Barack Obama was known for releasing summer book lists, and the tradition hasn't stopped since he left office. \u003c/p>\n\u003cp>On Friday, Obama took \u003ca href=\"https://www.facebook.com/barackobama/posts/10156007456406749\" rel=\"noopener\" target=\"_blank\">to Facebook\u003c/a> to tell followers about his upcoming trip to Kenya and South Africa and recommend some related reading. \u003c/p>\n\u003cp>\"Over the years since, I've often drawn inspiration from Africa's extraordinary literary tradition,\" Obama wrote in the post. \"As I prepare for this trip, I wanted to share a list of books that I’d recommend for summer reading, including some from a number of Africa’s best writers and thinkers – each of whom illuminate our world in powerful and unique ways.\"\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2Fbarackobama%2Fposts%2F10156007456406749&width=500\" width=\"500\" height=\"275\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\"Things Fall Apart\" by Chinua Achebe\u003c/strong>\u003cbr>\nChinua Achebe's book takes readers to a society in Nigeria battling tensions with missionaries and colonialism, ending in an emotional downturn that is hard to see coming. Of the novel, Obama says it \"has inspired generations of writers in Nigeria, across Africa, and around the world.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\"A Grain of Wheat\" by Ngũgĩ wa Thiong'o\u003c/strong>\u003cbr>\nThis historical novel is set during Kenya's fight for independence. Obama said it's a story that shows \"how the transformative events of history weigh on individual lives and relationships.\" \u003c/p>\n\u003cp>\u003cstrong>\"Long Walk to Freedom\" by Nelson Mandela\u003c/strong>\u003cbr>\nThe story of Nelson Mandela's life is pretty well-known, but this memoir gives readers a more personal account of the icon's life. Obama deems it \"essential reading for anyone who wants to understand history – and then go out and change it.\" \u003c/p>\n\u003cp>\u003cstrong>\"Americanah\" by Chimamanda Ngozi Adichie\u003c/strong>\u003cbr>\nIf you haven't read Chimamanda Ngozi Adichie's work yet, this might be a good place to start. Her stories take readers through borderlands of identity, and Obama notes that \"Americanah\" grapples with \"universal questions of race and belonging, the overseas experience for the African diaspora, and the search for identity and a home.\"\u003c/p>\n\u003cp>\u003cstrong>\"The Return\" by Hisham Matar\u003c/strong>\u003cbr>\nHisham Matar's autobiography centers on Libya and \"the author’s dogged quest to find his father who disappeared in Gaddafi’s prisons.\" \u003c/p>\n\u003cp>\u003cstrong>\"The World As It Is\" by Ben Rhodes\u003c/strong>\u003cbr>\nThe last book on Obama's list hits very close to home for him. Written by one of his \u003ca href=\"https://www.kqed.org/forum/2010101865919/obama-national-security-adviser-ben-rhodes-on-navigating-the-world-as-it-is\" rel=\"noopener\" target=\"_blank\">former staffers\u003c/a>, the book documents the Obama White House. While Obama notes that Rhodes \"does not have African blood running through his veins,\" the former president calls Rhodes new memoir \"one of the smartest reflections I’ve seen as to how we approached foreign policy, and one of the most compelling stories I’ve seen about what it’s actually like to serve the American people for eight years in the White House.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mentioned in the post but not included on his official list was Obama's own memoir about his family and time in Africa, \"Dreams From My Father.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former President Barack Obama was known for releasing summer book lists, and the tradition hasn't stopped since he left office. \u003c/p>\n\u003cp>On Friday, Obama took \u003ca href=\"https://www.facebook.com/barackobama/posts/10156007456406749\" rel=\"noopener\" target=\"_blank\">to Facebook\u003c/a> to tell followers about his upcoming trip to Kenya and South Africa and recommend some related reading. \u003c/p>\n\u003cp>\"Over the years since, I've often drawn inspiration from Africa's extraordinary literary tradition,\" Obama wrote in the post. \"As I prepare for this trip, I wanted to share a list of books that I’d recommend for summer reading, including some from a number of Africa’s best writers and thinkers – each of whom illuminate our world in powerful and unique ways.\"\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2Fbarackobama%2Fposts%2F10156007456406749&width=500\" width=\"500\" height=\"275\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\"Things Fall Apart\" by Chinua Achebe\u003c/strong>\u003cbr>\nChinua Achebe's book takes readers to a society in Nigeria battling tensions with missionaries and colonialism, ending in an emotional downturn that is hard to see coming. Of the novel, Obama says it \"has inspired generations of writers in Nigeria, across Africa, and around the world.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Two Bay Area Private Colleges to Close, Hundreds of Job Losses",
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"content": "\u003cp>Around 200 faculty and staff will lose their jobs in December, owing to the closure of two Bay Area private colleges.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.artinstitutes.edu/san-francisco\" target=\"_blank\" rel=\"noopener\">Art Institute of California-San Francisco \u003c/a>and the \u003ca href=\"https://www.argosy.edu/locations/san-francisco\" target=\"_blank\" rel=\"noopener\">Alameda campus of Argosy University\u003c/a> are no longer accepting applications, according to their websites.\u003c/p>\n\u003cp>Pittsburgh-based \u003ca href=\"https://www.dcedh.org/\" target=\"_blank\" rel=\"noopener\">Dream Center Education Holdings\u003c/a> acquired the schools last year. The organization runs more than 20 schools throughout California and the U.S, focused on IT, fashion, design and other fields. California is the organization's largest market.\u003c/p>\n\u003cfigure id=\"attachment_11680361\" class=\"wp-caption alignright\" style=\"max-width: 375px\">\u003cimg class=\"size-full wp-image-11680361\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/Class_at_AICA-SF_Labs-e1531434214326.jpeg\" alt=\"A class at the San Francisco campus of the Art Institute of California.\" width=\"375\" height=\"212\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/Class_at_AICA-SF_Labs-e1531434214326.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Class_at_AICA-SF_Labs-e1531434214326-160x90.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Class_at_AICA-SF_Labs-e1531434214326-240x136.jpeg 240w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003cfigcaption class=\"wp-caption-text\">A class at the San Francisco campus of the Art Institute of California. \u003ccite>(Photo: Wikipedia )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dream Center spokeswoman Anne Dean cited declining enrollment and a higher demand for online learning as reasons for the closures.\u003c/p>\n\u003cp>\"Since acquiring these schools in late 2017, we have been undergoing an ongoing process of evaluating the viability of certain campus-based programs relative to student needs and preferences in order to best support our students, both present and future,\" Dean said in an email. \"As a result of that examination, we have made the decision to discontinue campus-based programs for a number of schools within The Art Institutes, Argosy University, and South University systems.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dean said the organization is redirecting prospective students to one of its other campuses or its online offerings.\u003c/p>\n\u003cp>\"Current, active students should continue to attend class as scheduled,\" Dean said. \"We will support current students by offering multiple options to continue their education.\"\u003c/p>\n\u003cp>An interesting and perhaps unwelcome side effect of the closure of the San Francisco campus of the Art Institute of California in particular has been the confusion among some members of the public over which Bay Area art school is closing.\u003c/p>\n\u003cp>Gordon Knox, president of \u003ca href=\"//www.sfai.edu\" target=\"_blank\" rel=\"noopener\">the San Francisco Art Institute\u003c/a> (SFAI), a venerable art school that has been in the city since the 19th century, said his organization has received many phone and email inquiries over the past few days about the school's closure.\u003c/p>\n\u003cp>\"It's an unfortunate confusion,\" Knox said. \"We are the school that's been here since 1871, and we are expanding, not contracting.\"\u003c/p>\n\u003cp>To set the record straight, SFAI sent out an email blast Thursday to its mailing list and posted a message on its website explaining the confusion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Headed with the subject line, \"SFAI is not closing!\", the email said:\u003c/p>\n\u003cblockquote>\u003cp>While SFAI may share a similar name to The Art Institute of California, SFAI is a very different art school.\u003c/p>\n\u003cp>Unlike the commercial Art Institute, SFAI is a private, nonprofit institution that has been supporting emerging contemporary artists in the Bay Area since 1871.\u003c/p>\n\u003cp>The Art Institute of California is closing its San Francisco campus, and this news has caused some concern among members of the SFAI community.\u003c/p>\n\u003cp>We’re here to let you know that SFAI isn’t going anywhere! We hope to continue supporting emerging artists for years to come.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Around 200 faculty and staff will lose their jobs in December, owing to the closure of two Bay Area private colleges.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.artinstitutes.edu/san-francisco\" target=\"_blank\" rel=\"noopener\">Art Institute of California-San Francisco \u003c/a>and the \u003ca href=\"https://www.argosy.edu/locations/san-francisco\" target=\"_blank\" rel=\"noopener\">Alameda campus of Argosy University\u003c/a> are no longer accepting applications, according to their websites.\u003c/p>\n\u003cp>Pittsburgh-based \u003ca href=\"https://www.dcedh.org/\" target=\"_blank\" rel=\"noopener\">Dream Center Education Holdings\u003c/a> acquired the schools last year. The organization runs more than 20 schools throughout California and the U.S, focused on IT, fashion, design and other fields. California is the organization's largest market.\u003c/p>\n\u003cfigure id=\"attachment_11680361\" class=\"wp-caption alignright\" style=\"max-width: 375px\">\u003cimg class=\"size-full wp-image-11680361\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/Class_at_AICA-SF_Labs-e1531434214326.jpeg\" alt=\"A class at the San Francisco campus of the Art Institute of California.\" width=\"375\" height=\"212\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/Class_at_AICA-SF_Labs-e1531434214326.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Class_at_AICA-SF_Labs-e1531434214326-160x90.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/Class_at_AICA-SF_Labs-e1531434214326-240x136.jpeg 240w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003cfigcaption class=\"wp-caption-text\">A class at the San Francisco campus of the Art Institute of California. \u003ccite>(Photo: Wikipedia )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dream Center spokeswoman Anne Dean cited declining enrollment and a higher demand for online learning as reasons for the closures.\u003c/p>\n\u003cp>\"Since acquiring these schools in late 2017, we have been undergoing an ongoing process of evaluating the viability of certain campus-based programs relative to student needs and preferences in order to best support our students, both present and future,\" Dean said in an email. \"As a result of that examination, we have made the decision to discontinue campus-based programs for a number of schools within The Art Institutes, Argosy University, and South University systems.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dean said the organization is redirecting prospective students to one of its other campuses or its online offerings.\u003c/p>\n\u003cp>\"Current, active students should continue to attend class as scheduled,\" Dean said. \"We will support current students by offering multiple options to continue their education.\"\u003c/p>\n\u003cp>An interesting and perhaps unwelcome side effect of the closure of the San Francisco campus of the Art Institute of California in particular has been the confusion among some members of the public over which Bay Area art school is closing.\u003c/p>\n\u003cp>Gordon Knox, president of \u003ca href=\"//www.sfai.edu\" target=\"_blank\" rel=\"noopener\">the San Francisco Art Institute\u003c/a> (SFAI), a venerable art school that has been in the city since the 19th century, said his organization has received many phone and email inquiries over the past few days about the school's closure.\u003c/p>\n\u003cp>\"It's an unfortunate confusion,\" Knox said. \"We are the school that's been here since 1871, and we are expanding, not contracting.\"\u003c/p>\n\u003cp>To set the record straight, SFAI sent out an email blast Thursday to its mailing list and posted a message on its website explaining the confusion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Headed with the subject line, \"SFAI is not closing!\", the email said:\u003c/p>\n\u003cblockquote>\u003cp>While SFAI may share a similar name to The Art Institute of California, SFAI is a very different art school.\u003c/p>\n\u003cp>Unlike the commercial Art Institute, SFAI is a private, nonprofit institution that has been supporting emerging contemporary artists in the Bay Area since 1871.\u003c/p>\n\u003cp>The Art Institute of California is closing its San Francisco campus, and this news has caused some concern among members of the SFAI community.\u003c/p>\n\u003cp>We’re here to let you know that SFAI isn’t going anywhere! We hope to continue supporting emerging artists for years to come.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Native American Tribes Clash With UC Over Bones of Their Ancestors",
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"content": "\u003cp>As tribal archaeologist for the Pechanga Band of Luiseño Indians, Myra Masiel uses her UC Berkeley anthropology training daily. Her mission: track down skeletons of Native Californians extracted from gravesites over the last two centuries and shipped off to museums around the world, and return them to the tribe’s ancestral land near Temecula so they can be reburied with dignity.\u003c/p>\n\u003cp>But lately that quest has put Masiel at odds with her alma mater.\u003c/p>\n\u003cp>The remains of thousands of Native Americans, along with possessions such as beads and fishhooks buried with them, now sit in drawers and boxes at University of California museums. Federal and state laws require their return to tribes able to prove a connection to them. Some tribes accuse university officials of delaying so professors can continue to study the bones, and are pushing state \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201720180AB2836\">legislation\u003c/a> to force UC to speed its efforts.\u003c/p>\n\u003cp>“As an anthropologist, you don’t own what you’re taking care of. They’re in your care,” said Masiel. “But I think the research community does feel that they own them.”\u003c/p>\n\u003cp>Over decades, archaeologists and common looters excavated Native American cemeteries—some even motivated by the racist eugenics movement, which compared skull shapes to attempt to prove white superiority.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1990, U.S. \u003ca href=\"https://www.nps.gov/nagpra/mandates/25usc3001etseq.htm\">law\u003c/a> began requiring federally funded museums to list remains in their collections, along with any “associated funerary objects” or other sacred items, and share the list with tribes, who could then make repatriation claims. \u003c/p>\n\u003cp>California \u003ca href=\"https://leginfo.legislature.ca.gov/faces/codes_displayText.xhtml?lawCode=HSC&division=7.&title=&part=2.&chapter=5.&article=1.\">law\u003c/a> extended that approach to state-funded museums. But UC campus responses varied widely. \u003c/p>\n\u003cp>UCLA’s Fowler Museum has transferred nearly all of the 2,300 remains in its collection to tribes, according to its archaeology curator, Wendy Teeter. But at UC Berkeley’s Phoebe Hearst Museum, which holds one of the largest collections of human remains in the country, fewer than 300 bodies have been returned out of more than 9,000.\u003c/p>\n\u003cp>“It’s a huge black eye on the institution,” said Phenocia Bauerle, Berkeley’s director of Native American Student Development. She said the slow pace of repatriation has hurt her ability to build trust with Native American students and tribes.\u003c/p>\n\u003caside class=\"pullquote alignright\">The dispute reflects a longstanding clash of worldviews, with UC academics weighing concerns of descendants against potential research benefits.\u003c/aside>\n\u003cp>Randy Katz, Berkeley’s vice chancellor for research, said the university “works diligently to care for (remains) in a respectful and legal manner.” He noted that he recently appointed more Native Americans to the campus committee reviewing repatriation requests, once dominated by anthropologists and with only one Native American member.\u003c/p>\n\u003cp>Pechanga’s dispute with the Hearst Museum began on San Nicolas Island, a sandy, scrub-covered outpost about 60 miles offshore of Southern California, owned by the Navy. Archaeologists with the Navy and Cal State Los Angeles were digging there, seeking to unravel the mystery of the \u003ca href=\"http://www.latimes.com/local/great-reads/la-me-c1-cave-artifacts-20150305-story.html\">Lone Woman\u003c/a>, a Native American whose story inspired the novel \u003cem>Island of the Blue Dolphins\u003c/em>.\u003c/p>\n\u003cp>That didn’t sit well with the Pechanga tribal council, which said traditional songs and stories prove the tribe’s connection to the island. It filed a petition with the Navy, which agreed the tribe had a cultural affiliation with the area. That meant digging had to stop—and by law, the nearly 500 remains uncovered on the island over the decades could go to the tribe.\u003c/p>\n\u003cp>In what tribal representatives describe as a six-year saga, other museums—including UCLA’s Fowler—have said they will return bodies they have from San Nicolas. The Navy has given permission for island reburial to Pechanga and three other Luiseño and Chumash tribes. But UC Berkeley insists it must conduct its own investigation before returning some of the remains.\u003c/p>\n\u003cp>The dispute reflects a longstanding clash of worldviews, with UC academics weighing concerns of descendants against potential research benefits.\u003c/p>\n\u003cfigure id=\"attachment_11680092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/NativeAmericansMacarro-800x533.jpg\" alt=\"Chairman Mark Macarro of the Pechanga Tribe of Luiseño Indians.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11680092\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chairman Mark Macarro of the Pechanga Tribe of Luiseño Indians. \u003ccite>(Robbie Short/CALmatters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a wealth of data in the human body,” said Robert Bettinger, professor emeritus of anthropology at UC Davis. “We can trace a whole series of isotopes that will tell us about your diet, about the water you drank and probably the region you came from.”\u003c/p>\n\u003cp>Bettinger worries that if tribes rebury remains without allowing anthropologists to examine them, society will lose the opportunity to gain detailed knowledge about life in western North America before Europeans’ arrival. “Maybe this is patronizing from an archaeologist’s point of view, but I think someday, somebody in the Native American community is going to ask, ‘Why don’t we know this?’ ” he said. “And the answer will be because some of your forebears decided it was more important not to know that.”\u003c/p>\n\u003cp>But for many tribes, the very idea that their ancestors would become research objects is, in Pechanga chairman Mark Macarro’s word, “abhorrent.”\u003c/p>\n\u003cp>“As long as these remains are out there and our people are in pieces in different institutions,” he said, “the tribes have this sense that things are really out of balance.”\u003c/p>\n\u003cp>Macarro subscribes to the Luiseño view that the world was created in the Temecula Valley, and is skeptical of academics who he sees as guessing at history, constantly changing their ideas as new evidence discredits the old ones.\u003c/p>\n\u003cp>“Look, if you want to know the past,” he said, “talk to us.”\u003c/p>\n\u003cp>California’s Assembly has passed legislation by San Diego \u003ca href=\"https://a78.asmdc.org/\">Assemblyman Todd Gloria\u003c/a>, a member of Alaska’s Tlingit Haida tribe, to create a uniform UC repatriation process, overseen by the state’s \u003ca href=\"http://nahc.ca.gov/\">Native American Heritage Commission\u003c/a>. Tribes would have equal representation on campus committees, and the state auditor would review UC’s legal compliance.\u003c/p>\n\u003cp>“If (research) was done in a cooperative fashion with the descendants, maybe something could happen here,” Gloria said. “Sadly, right now the relationship is very adversarial.”\u003c/p>\n\u003cp>Matching centuries-old skeletons with contemporary Native American groups can be challenging. Poor record-keeping abounds. Even when likely descendants are identified, they\u003ca href=\"https://www.gao.gov/assets/310/307856.pdf\"> sometimes lack\u003c/a> the money or land to take on repatriation.\u003c/p>\n\u003cp>UCLA’s Teeter said her team reaches out to tribes to help identify the origin of remains.\u003c/p>\n\u003cp>“We’re not talking about Neanderthals; we’re not talking about Homo erectus. We’re talking about people that are sometimes just a generation or two separated from us,” Teeter said. “There’s more value in making sure our relationships are true and ethical than in trying to hold onto (someone’s) ancestors.”\u003c/p>\n\u003cfigure id=\"attachment_11680095\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/NativeAmericanRemains-800x1067.jpg\" alt=\"Michael Walters, a UC Davis osteologist, shows how he sorts through animal bones from archaeological digs to find any human bones that have been misclassified.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-11680095\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-900x1200.jpg 900w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Walters, a UC Davis osteologist, shows how he sorts through animal bones from archaeological digs to find any human bones that have been misclassified. \u003ccite>(Felicia Mello/CALmatters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Teeter said the collaboration with tribes is one reason for UCLA’s high repatriation rate. At UC Berkeley, by contrast, campus officials have designated more than 80 percent of the remains in its North American collection as “culturally unidentifiable”—a legal limbo that means researchers can study the bones without seeking permission from any tribe. Katz says that’s because they come from a broader range of places and time periods.\u003c/p>\n\u003cp>In a basement room filled with white file boxes, UC Davis osteologist Michael Walters sorts through plastic bags full of bone fragments so small they look like wood chips. He’s searching for human bones that were mislabeled as animal, and sometimes he finds them—a body part from a child, for example, that was so small that an undergraduate in the 1960s decided it must have come from a bird.\u003c/p>\n\u003cp>Walters is part of a three-person team hired by UC Davis to update its inventory of about 300 sets of Native American remains—finding additional bones that researchers in the past missed, and returning those that can be repatriated to tribes.\u003c/p>\n\u003cp>Human bones go to a separate room closed to the public and the press. There, black curtains cover the shelves that house the bodies, the lighting is dim, and there’s an area for tribal representatives to make religious offerings, according to staff.\u003c/p>\n\u003cp>Walters wears gloves, and speaks to the bones while he works. “I do say hello and good morning to them, I apologize for colonialism,” he said. “My goal is to get that person home.”\u003c/p>\n\u003cp>But even this process is controversial. The United Auburn Indian Community says its own claim for repatriation of remains and sacred items from UC Davis has dragged on for years, and objects to scientists handling the bones as disrespectful.\u003c/p>\n\u003cp>The scientists contend they must ensure there’s sufficient evidence to repatriate the bones—or they could be sued by anthropologists who want to study them. In 2012, Bettinger and two other UC scientists seeking DNA to study ancient migrations sued but failed to stop the university from transferring \u003ca href=\"https://www.nytimes.com/2016/02/02/science/tribes-win-in-fight-for-la-jolla-bones-clouds-hopes-for-dna-studies.html\">two 9,000-year-old skeletons\u003c/a> to the Kumeyaay tribes.\u003c/p>\n\u003cp>UC has not taken a position on Gloria’s bill, though Berkeley’s Katz said he’s “concerned that as written it will increase layers of bureaucracy and hobble our ability to act swiftly on the advice of the new (committee) we’ve established that is more representative and inclusive of Native American perspectives.”\u003c/p>\n\u003cp>While the tribes await Senate action, Masiel continues her work. Last month, she flew to Europe to consult with a museum about remains that she says have ties to her people.\u003c/p>\n\u003cp>“The tribe, we’re very patient,” she said. “We don’t forget. I will continue to fight for these people until they get returned back to where they came from.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.calmatters.org/\">\u003cem>CALmatters.org\u003c/em>\u003c/a>\u003cem> is a nonprofit, nonpartisan media venture explaining California policies and politics. This story and other higher education coverage are supported by the College Futures Foundation.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The remains of thousands of Native Americans sit in drawers and boxes at University of California museums. Laws require their return to tribes able to prove a connection to them. But some tribes accuse the university of delaying.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As tribal archaeologist for the Pechanga Band of Luiseño Indians, Myra Masiel uses her UC Berkeley anthropology training daily. Her mission: track down skeletons of Native Californians extracted from gravesites over the last two centuries and shipped off to museums around the world, and return them to the tribe’s ancestral land near Temecula so they can be reburied with dignity.\u003c/p>\n\u003cp>But lately that quest has put Masiel at odds with her alma mater.\u003c/p>\n\u003cp>The remains of thousands of Native Americans, along with possessions such as beads and fishhooks buried with them, now sit in drawers and boxes at University of California museums. Federal and state laws require their return to tribes able to prove a connection to them. Some tribes accuse university officials of delaying so professors can continue to study the bones, and are pushing state \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201720180AB2836\">legislation\u003c/a> to force UC to speed its efforts.\u003c/p>\n\u003cp>“As an anthropologist, you don’t own what you’re taking care of. They’re in your care,” said Masiel. “But I think the research community does feel that they own them.”\u003c/p>\n\u003cp>Over decades, archaeologists and common looters excavated Native American cemeteries—some even motivated by the racist eugenics movement, which compared skull shapes to attempt to prove white superiority.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1990, U.S. \u003ca href=\"https://www.nps.gov/nagpra/mandates/25usc3001etseq.htm\">law\u003c/a> began requiring federally funded museums to list remains in their collections, along with any “associated funerary objects” or other sacred items, and share the list with tribes, who could then make repatriation claims. \u003c/p>\n\u003cp>California \u003ca href=\"https://leginfo.legislature.ca.gov/faces/codes_displayText.xhtml?lawCode=HSC&division=7.&title=&part=2.&chapter=5.&article=1.\">law\u003c/a> extended that approach to state-funded museums. But UC campus responses varied widely. \u003c/p>\n\u003cp>UCLA’s Fowler Museum has transferred nearly all of the 2,300 remains in its collection to tribes, according to its archaeology curator, Wendy Teeter. But at UC Berkeley’s Phoebe Hearst Museum, which holds one of the largest collections of human remains in the country, fewer than 300 bodies have been returned out of more than 9,000.\u003c/p>\n\u003cp>“It’s a huge black eye on the institution,” said Phenocia Bauerle, Berkeley’s director of Native American Student Development. She said the slow pace of repatriation has hurt her ability to build trust with Native American students and tribes.\u003c/p>\n\u003caside class=\"pullquote alignright\">The dispute reflects a longstanding clash of worldviews, with UC academics weighing concerns of descendants against potential research benefits.\u003c/aside>\n\u003cp>Randy Katz, Berkeley’s vice chancellor for research, said the university “works diligently to care for (remains) in a respectful and legal manner.” He noted that he recently appointed more Native Americans to the campus committee reviewing repatriation requests, once dominated by anthropologists and with only one Native American member.\u003c/p>\n\u003cp>Pechanga’s dispute with the Hearst Museum began on San Nicolas Island, a sandy, scrub-covered outpost about 60 miles offshore of Southern California, owned by the Navy. Archaeologists with the Navy and Cal State Los Angeles were digging there, seeking to unravel the mystery of the \u003ca href=\"http://www.latimes.com/local/great-reads/la-me-c1-cave-artifacts-20150305-story.html\">Lone Woman\u003c/a>, a Native American whose story inspired the novel \u003cem>Island of the Blue Dolphins\u003c/em>.\u003c/p>\n\u003cp>That didn’t sit well with the Pechanga tribal council, which said traditional songs and stories prove the tribe’s connection to the island. It filed a petition with the Navy, which agreed the tribe had a cultural affiliation with the area. That meant digging had to stop—and by law, the nearly 500 remains uncovered on the island over the decades could go to the tribe.\u003c/p>\n\u003cp>In what tribal representatives describe as a six-year saga, other museums—including UCLA’s Fowler—have said they will return bodies they have from San Nicolas. The Navy has given permission for island reburial to Pechanga and three other Luiseño and Chumash tribes. But UC Berkeley insists it must conduct its own investigation before returning some of the remains.\u003c/p>\n\u003cp>The dispute reflects a longstanding clash of worldviews, with UC academics weighing concerns of descendants against potential research benefits.\u003c/p>\n\u003cfigure id=\"attachment_11680092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/NativeAmericansMacarro-800x533.jpg\" alt=\"Chairman Mark Macarro of the Pechanga Tribe of Luiseño Indians.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11680092\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericansMacarro-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chairman Mark Macarro of the Pechanga Tribe of Luiseño Indians. \u003ccite>(Robbie Short/CALmatters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a wealth of data in the human body,” said Robert Bettinger, professor emeritus of anthropology at UC Davis. “We can trace a whole series of isotopes that will tell us about your diet, about the water you drank and probably the region you came from.”\u003c/p>\n\u003cp>Bettinger worries that if tribes rebury remains without allowing anthropologists to examine them, society will lose the opportunity to gain detailed knowledge about life in western North America before Europeans’ arrival. “Maybe this is patronizing from an archaeologist’s point of view, but I think someday, somebody in the Native American community is going to ask, ‘Why don’t we know this?’ ” he said. “And the answer will be because some of your forebears decided it was more important not to know that.”\u003c/p>\n\u003cp>But for many tribes, the very idea that their ancestors would become research objects is, in Pechanga chairman Mark Macarro’s word, “abhorrent.”\u003c/p>\n\u003cp>“As long as these remains are out there and our people are in pieces in different institutions,” he said, “the tribes have this sense that things are really out of balance.”\u003c/p>\n\u003cp>Macarro subscribes to the Luiseño view that the world was created in the Temecula Valley, and is skeptical of academics who he sees as guessing at history, constantly changing their ideas as new evidence discredits the old ones.\u003c/p>\n\u003cp>“Look, if you want to know the past,” he said, “talk to us.”\u003c/p>\n\u003cp>California’s Assembly has passed legislation by San Diego \u003ca href=\"https://a78.asmdc.org/\">Assemblyman Todd Gloria\u003c/a>, a member of Alaska’s Tlingit Haida tribe, to create a uniform UC repatriation process, overseen by the state’s \u003ca href=\"http://nahc.ca.gov/\">Native American Heritage Commission\u003c/a>. Tribes would have equal representation on campus committees, and the state auditor would review UC’s legal compliance.\u003c/p>\n\u003cp>“If (research) was done in a cooperative fashion with the descendants, maybe something could happen here,” Gloria said. “Sadly, right now the relationship is very adversarial.”\u003c/p>\n\u003cp>Matching centuries-old skeletons with contemporary Native American groups can be challenging. Poor record-keeping abounds. Even when likely descendants are identified, they\u003ca href=\"https://www.gao.gov/assets/310/307856.pdf\"> sometimes lack\u003c/a> the money or land to take on repatriation.\u003c/p>\n\u003cp>UCLA’s Teeter said her team reaches out to tribes to help identify the origin of remains.\u003c/p>\n\u003cp>“We’re not talking about Neanderthals; we’re not talking about Homo erectus. We’re talking about people that are sometimes just a generation or two separated from us,” Teeter said. “There’s more value in making sure our relationships are true and ethical than in trying to hold onto (someone’s) ancestors.”\u003c/p>\n\u003cfigure id=\"attachment_11680095\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/NativeAmericanRemains-800x1067.jpg\" alt=\"Michael Walters, a UC Davis osteologist, shows how he sorts through animal bones from archaeological digs to find any human bones that have been misclassified.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-11680095\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-900x1200.jpg 900w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/NativeAmericanRemains-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Walters, a UC Davis osteologist, shows how he sorts through animal bones from archaeological digs to find any human bones that have been misclassified. \u003ccite>(Felicia Mello/CALmatters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Teeter said the collaboration with tribes is one reason for UCLA’s high repatriation rate. At UC Berkeley, by contrast, campus officials have designated more than 80 percent of the remains in its North American collection as “culturally unidentifiable”—a legal limbo that means researchers can study the bones without seeking permission from any tribe. Katz says that’s because they come from a broader range of places and time periods.\u003c/p>\n\u003cp>In a basement room filled with white file boxes, UC Davis osteologist Michael Walters sorts through plastic bags full of bone fragments so small they look like wood chips. He’s searching for human bones that were mislabeled as animal, and sometimes he finds them—a body part from a child, for example, that was so small that an undergraduate in the 1960s decided it must have come from a bird.\u003c/p>\n\u003cp>Walters is part of a three-person team hired by UC Davis to update its inventory of about 300 sets of Native American remains—finding additional bones that researchers in the past missed, and returning those that can be repatriated to tribes.\u003c/p>\n\u003cp>Human bones go to a separate room closed to the public and the press. There, black curtains cover the shelves that house the bodies, the lighting is dim, and there’s an area for tribal representatives to make religious offerings, according to staff.\u003c/p>\n\u003cp>Walters wears gloves, and speaks to the bones while he works. “I do say hello and good morning to them, I apologize for colonialism,” he said. “My goal is to get that person home.”\u003c/p>\n\u003cp>But even this process is controversial. The United Auburn Indian Community says its own claim for repatriation of remains and sacred items from UC Davis has dragged on for years, and objects to scientists handling the bones as disrespectful.\u003c/p>\n\u003cp>The scientists contend they must ensure there’s sufficient evidence to repatriate the bones—or they could be sued by anthropologists who want to study them. In 2012, Bettinger and two other UC scientists seeking DNA to study ancient migrations sued but failed to stop the university from transferring \u003ca href=\"https://www.nytimes.com/2016/02/02/science/tribes-win-in-fight-for-la-jolla-bones-clouds-hopes-for-dna-studies.html\">two 9,000-year-old skeletons\u003c/a> to the Kumeyaay tribes.\u003c/p>\n\u003cp>UC has not taken a position on Gloria’s bill, though Berkeley’s Katz said he’s “concerned that as written it will increase layers of bureaucracy and hobble our ability to act swiftly on the advice of the new (committee) we’ve established that is more representative and inclusive of Native American perspectives.”\u003c/p>\n\u003cp>While the tribes await Senate action, Masiel continues her work. Last month, she flew to Europe to consult with a museum about remains that she says have ties to her people.\u003c/p>\n\u003cp>“The tribe, we’re very patient,” she said. “We don’t forget. I will continue to fight for these people until they get returned back to where they came from.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For the entire month of July, the Bay Area is celebrating the 111th birthday of artist Frida Kahlo. It’s the first time \u003ca href=\"https://www.fiestasfridas.com/\" target=\"_blank\" rel=\"noopener\">Fiestas Fridas\u003c/a> has moved beyond San Francisco, where the artist briefly lived on two occasions, in the early 30s and in 1940.\u003c/p>\n\u003cp>The multi-day event sets out to “\u003ca href=\"https://www.facebook.com/FiestasFridas/\" target=\"_blank\" rel=\"noopener\">celebrate art, community & the life of Frida Kahlo\u003c/a>” through selfie challenges, spoken word and, of course, art exhibits. On Friday a birthday processional for the artist was held at the \u003ca href=\"https://www.kqed.org/arts/13825649/san-francisco-street-could-be-renamed-frida-kahlo-way\" target=\"_blank\" rel=\"noopener\">recently renamed Frida Kahlo Way\u003c/a>.\u003c/p>\n\u003cp>Sunday, the party continued at the Bedford Gallery in Walnut Creek, with a Kahlo look-alike contest, Kahlo-inspired fashion show and bazaar. It also marked the opening of a gallery exhibit featuring historical photographs of Kahlo throughout her travels and works by other artists that reference her in some way. “\u003ca href=\"http://www.bedfordgallery.org/exhibitions/up-next/the-world-of-frida\" target=\"_blank\" rel=\"noopener\">The World of Frida\u003c/a>” will be open until September 16.\u003c/p>\n\u003cfigure id=\"attachment_11679602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679602\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-800x1200.jpg\" alt='Vanessa Hernandez of Oakland and Gloria Magaña of Modesto prepare to walk in the Frida-inspired fashion show. Hernandez says Kahlo, to her, is \"power.\"' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Hernandez of San Fernando and Gloria Magaña of Modesto prepare to walk in the Frida-inspired fashion show. Hernandez says Kahlo, to her, is “power.” \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679603\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6598-800x533.jpg\" alt='Reveca Torres of Chicago, IL takes to the runway during the Frida Kahlo fashion show in Walnut Creek. Like Kahlo, she suffered a spinal cord injury at an early age. \"I really started to connect with her after I was injured at 13,\" says Torres, \"she was a powerful woman,\" says Torres, who subsequently became an artist herself.' width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Reveca Torres of Chicago, IL takes to the runway during the Frida Kahlo fashion show in Walnut Creek. Like Kahlo, she suffered a spinal cord injury at an early age. “I really started to connect with her after I was injured at 13,” says Torres, “she was a powerful woman,” says Torres, who subsequently became an artist herself. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679604\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-800x1200.jpg\" alt='Mayra Peña of Guadalajara, Mexico said her Frida Kahlo-inspired costume by Paulina Herrera requires \"balance and no sudden movements.\" She said Kahlo represents pain and how one can overcome the physical and emotional challenges in life.' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayra Peña of Guadalajara, Mexico said her Frida Kahlo-inspired costume by Paulina Herrera requires “balance and no sudden movements.” She said Kahlo represents pain and how one can overcome the physical and emotional challenges in life. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679605\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6605-e1531157077986-800x1200.jpg\" alt=\"Theresa Bridges of Santa Cruz wears a Frida Kahlo-inspired cage dress designed by Christina Morgan Cree. She said Kahlo is meaningful to her as simply a "badass" who didn't "sugar coat things."\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Theresa Bridges of Santa Cruz wears a Frida Kahlo-inspired cage dress designed by Christina Morgan Cree. She said Kahlo is meaningful to her as simply a “badass” who didn’t “sugar coat things.” \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679606\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6608-e1531157184546-800x1200.jpg\" alt=\"Gigi Orozco, 8-years-old, of San Francisco stands with her new Frida-inspired doll as her mother talks with a vendor at the Frida Kahlo event outside Bedford Gallery of Walnut Creek.\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Gigi Orozco, 8-years-old, of San Francisco stands with her new Frida-inspired doll as her mother talks with a vendor at the Frida Kahlo event outside Bedford Gallery of Walnut Creek. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679607\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6610-800x533.jpg\" alt='A model teeters down the catwalk in Frida Kahlo-inspired attire at the \"Fiestas Fridas\" birthday-bash and art show at Bedford Gallery in Walnut Creek.' width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">A model teeters down the catwalk in Frida Kahlo-inspired attire at the “Fiestas Fridas” birthday-bash and art show at Bedford Gallery in Walnut Creek. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679608\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6613-e1531157436547-800x1200.jpg\" alt=\"Rachel-Anne Palacios and from L to R: Azalia Cabrera (5), daughter Mayahuel Palacios (5) and Lucia Soriano (4) hang out at the Frida Kahlo celebration. The girls participated in an earlier Kahlo look-alike contest.\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Rachel-Anne Palacios and from L to R: Azalia Cabrera (5), daughter Mayahuel Palacios (5) and Lucia Soriano (4) hang out at the Frida Kahlo celebration. The girls participated in an earlier Kahlo look-alike contest. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679609\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6614-e1531157874966-800x1200.jpg\" alt=\"Ed Flores of Martinez relaxes at the Frida Kahlo celebration outside Bedford Gallery in Walnut Creek. Flores said Kahlo was the "revolution before the revolution" when it came to women's empowerment, "ahead of her time."\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Ed Flores of Martinez relaxes at the Frida Kahlo celebration outside Bedford Gallery in Walnut Creek. Flores said Kahlo was the “revolution before the revolution” when it came to women’s empowerment, “ahead of her time.” \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679610\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6616-e1531158010496-800x1200.jpg\" alt=\"Martha Villanueva of San Jose presents her husband Carlos Villez's artwork to customer Ellie Rue (5) of Walnut Creek at a Frida Kahlo birthday extravaganza in the city on Sunday. Rue says she likes the piece because of "the colors around her hair."\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Martha Villanueva of San Jose presents her husband Carlos Villez’s artwork to customer Ellie Rue (5) of Walnut Creek at a Frida Kahlo birthday extravaganza in the city on Sunday. Rue says she likes the piece because of “the colors around her hair.” \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This story has been corrected to reflect Vanessa Hernandez’s hometown is San Fernando, not Oakland.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"headline": "PHOTOS: Fiestas Fridas Celebrates All Things Frida Kahlo",
"datePublished": "2018-07-09T10:54:18-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the entire month of July, the Bay Area is celebrating the 111th birthday of artist Frida Kahlo. It’s the first time \u003ca href=\"https://www.fiestasfridas.com/\" target=\"_blank\" rel=\"noopener\">Fiestas Fridas\u003c/a> has moved beyond San Francisco, where the artist briefly lived on two occasions, in the early 30s and in 1940.\u003c/p>\n\u003cp>The multi-day event sets out to “\u003ca href=\"https://www.facebook.com/FiestasFridas/\" target=\"_blank\" rel=\"noopener\">celebrate art, community & the life of Frida Kahlo\u003c/a>” through selfie challenges, spoken word and, of course, art exhibits. On Friday a birthday processional for the artist was held at the \u003ca href=\"https://www.kqed.org/arts/13825649/san-francisco-street-could-be-renamed-frida-kahlo-way\" target=\"_blank\" rel=\"noopener\">recently renamed Frida Kahlo Way\u003c/a>.\u003c/p>\n\u003cp>Sunday, the party continued at the Bedford Gallery in Walnut Creek, with a Kahlo look-alike contest, Kahlo-inspired fashion show and bazaar. It also marked the opening of a gallery exhibit featuring historical photographs of Kahlo throughout her travels and works by other artists that reference her in some way. “\u003ca href=\"http://www.bedfordgallery.org/exhibitions/up-next/the-world-of-frida\" target=\"_blank\" rel=\"noopener\">The World of Frida\u003c/a>” will be open until September 16.\u003c/p>\n\u003cfigure id=\"attachment_11679602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679602\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-800x1200.jpg\" alt='Vanessa Hernandez of Oakland and Gloria Magaña of Modesto prepare to walk in the Frida-inspired fashion show. Hernandez says Kahlo, to her, is \"power.\"' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6591-e1531156556674-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Hernandez of San Fernando and Gloria Magaña of Modesto prepare to walk in the Frida-inspired fashion show. Hernandez says Kahlo, to her, is “power.” \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679603\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6598-800x533.jpg\" alt='Reveca Torres of Chicago, IL takes to the runway during the Frida Kahlo fashion show in Walnut Creek. Like Kahlo, she suffered a spinal cord injury at an early age. \"I really started to connect with her after I was injured at 13,\" says Torres, \"she was a powerful woman,\" says Torres, who subsequently became an artist herself.' width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Reveca Torres of Chicago, IL takes to the runway during the Frida Kahlo fashion show in Walnut Creek. Like Kahlo, she suffered a spinal cord injury at an early age. “I really started to connect with her after I was injured at 13,” says Torres, “she was a powerful woman,” says Torres, who subsequently became an artist herself. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679604\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-800x1200.jpg\" alt='Mayra Peña of Guadalajara, Mexico said her Frida Kahlo-inspired costume by Paulina Herrera requires \"balance and no sudden movements.\" She said Kahlo represents pain and how one can overcome the physical and emotional challenges in life.' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/IMG_6603-e1531156814799-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayra Peña of Guadalajara, Mexico said her Frida Kahlo-inspired costume by Paulina Herrera requires “balance and no sudden movements.” She said Kahlo represents pain and how one can overcome the physical and emotional challenges in life. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679605\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6605-e1531157077986-800x1200.jpg\" alt=\"Theresa Bridges of Santa Cruz wears a Frida Kahlo-inspired cage dress designed by Christina Morgan Cree. She said Kahlo is meaningful to her as simply a "badass" who didn't "sugar coat things."\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Theresa Bridges of Santa Cruz wears a Frida Kahlo-inspired cage dress designed by Christina Morgan Cree. She said Kahlo is meaningful to her as simply a “badass” who didn’t “sugar coat things.” \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679606\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6608-e1531157184546-800x1200.jpg\" alt=\"Gigi Orozco, 8-years-old, of San Francisco stands with her new Frida-inspired doll as her mother talks with a vendor at the Frida Kahlo event outside Bedford Gallery of Walnut Creek.\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Gigi Orozco, 8-years-old, of San Francisco stands with her new Frida-inspired doll as her mother talks with a vendor at the Frida Kahlo event outside Bedford Gallery of Walnut Creek. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679607\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6610-800x533.jpg\" alt='A model teeters down the catwalk in Frida Kahlo-inspired attire at the \"Fiestas Fridas\" birthday-bash and art show at Bedford Gallery in Walnut Creek.' width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">A model teeters down the catwalk in Frida Kahlo-inspired attire at the “Fiestas Fridas” birthday-bash and art show at Bedford Gallery in Walnut Creek. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679608\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6613-e1531157436547-800x1200.jpg\" alt=\"Rachel-Anne Palacios and from L to R: Azalia Cabrera (5), daughter Mayahuel Palacios (5) and Lucia Soriano (4) hang out at the Frida Kahlo celebration. The girls participated in an earlier Kahlo look-alike contest.\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Rachel-Anne Palacios and from L to R: Azalia Cabrera (5), daughter Mayahuel Palacios (5) and Lucia Soriano (4) hang out at the Frida Kahlo celebration. The girls participated in an earlier Kahlo look-alike contest. \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679609\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6614-e1531157874966-800x1200.jpg\" alt=\"Ed Flores of Martinez relaxes at the Frida Kahlo celebration outside Bedford Gallery in Walnut Creek. Flores said Kahlo was the "revolution before the revolution" when it came to women's empowerment, "ahead of her time."\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Ed Flores of Martinez relaxes at the Frida Kahlo celebration outside Bedford Gallery in Walnut Creek. Flores said Kahlo was the “revolution before the revolution” when it came to women’s empowerment, “ahead of her time.” \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11679610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679610\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/IMG_6616-e1531158010496-800x1200.jpg\" alt=\"Martha Villanueva of San Jose presents her husband Carlos Villez's artwork to customer Ellie Rue (5) of Walnut Creek at a Frida Kahlo birthday extravaganza in the city on Sunday. Rue says she likes the piece because of "the colors around her hair."\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Martha Villanueva of San Jose presents her husband Carlos Villez’s artwork to customer Ellie Rue (5) of Walnut Creek at a Frida Kahlo birthday extravaganza in the city on Sunday. Rue says she likes the piece because of “the colors around her hair.” \u003ccite>(Sara Hossaini/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This story has been corrected to reflect Vanessa Hernandez’s hometown is San Fernando, not Oakland.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Oakland is Ready for its Close-up",
"title": "Oakland is Ready for its Close-up",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>Stay caught up with the best of KQED's reporting each week by subscribing to the \u003ca href=\"https://itunes.apple.com/us/podcast/qed-up/id1197721799?mt=2\" target=\"_blank\" rel=\"noopener\">Q'ed Up podcast\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Here's what's happening in our neck of the woods.\u003c/p>\n\u003ch2>1. \u003ca href=\"https://www.kqed.org/news/11679230/boots-riley-tommy-orange-and-the-summer-of-the-oakland-artist\" rel=\"noopener\" target=\"_blank\">Boots Riley, Tommy Orange and the Summer of Oakland\u003c/a>\u003c/h2>\n\u003cp>https://vimeo.com/278727750\u003c/p>\n\u003cp>A few days ago, I was driving through Oakland and talking to a couple of friends who live on the other side of the country. We’re in a long distance book club together, and we were talking about what we should read next. \u003c/p>\n\u003cp>One of my friends lives in Arkansas, and she suggested this new book called “There There.” It’s about Native Americans living in Oakland, and it’s written by Tommy Orange — a Native American who grew up on Oakland. It also happens to be a New York Times bestseller, and Vox called it the “novel of the summer.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Add in \"Sorry to Bother You\" and \"Blindspotting\" — two movies coming out this summer set in Oakland and produced by Oakland natives — and it becomes clear: Oakland artists — especially artists of color — are \u003ca href=\"https://www.kqed.org/news/11679230/boots-riley-tommy-orange-and-the-summer-of-the-oakland-artist\" rel=\"noopener\" target=\"_blank\">having a moment\u003c/a>, and the whole country is taking note.\u003c/p>\n\u003ch2>2. \u003ca href=\"https://www.kqed.org/arts/13836666/provocative-textile-art-in-san-jose-targets-americas-tolerance-for-mass-shootings\" rel=\"noopener\" target=\"_blank\">Quilting against gun violence\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_11679411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/ww2.kqed_.orgRS31736_Photo-Jul-06-11-3-01cae30cd278e9f04d447bd8b2661dfde8ad05a6-800x450.jpg\" alt=\"'Quilted Reimagined American Flag Series III: Don't Live Matter?' 2016 by Kelly Burke. The orange and yellow stripes signify caution. The 50 shades of red stars represent pain and suffering. Look closely and you can see the names of specific incidents written on the cloth.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11679411\">\u003cfigcaption class=\"wp-caption-text\">'Quilted Reimagined American Flag Series III: Don't Live Matter?' 2016 by Kelly Burke. The orange and yellow stripes signify caution. The 50 shades of red stars represent pain and suffering. Look closely and you can see the names of specific incidents written on the cloth.\u003c/figcaption>\u003c/figure>\n\u003cp>When we think of political art, I don't think many of us think of quilts. But maybe we should. \u003c/p>\n\u003cp>From Betsy Ross to Cleve Jones and the AIDS Memorial Quilt, political quilts are nothing new. And now you can add anti-gun violence quilts to the list. \u003c/p>\n\u003cp>\"\u003ca href=\"https://www.kqed.org/arts/13836666/provocative-textile-art-in-san-jose-targets-americas-tolerance-for-mass-shootings\" rel=\"noopener\" target=\"_blank\">Guns: Loaded Conversations\u003c/a>,\" now on display at the San Jose Museum of Quilts and Textiles, was inspired by the shooting at the Pulse nightclub in Orlando in 2016, but the pieces in the exhibit go far beyond one shooting. \u003c/p>\n\u003ch2>3. \u003ca href=\"https://www.kqed.org/science/1926434/the-giants-of-california-how-redwoods-and-whales-got-so-big\" rel=\"noopener\" target=\"_blank\">Everything is bigger in California\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_11677027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/RedwoodForest2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11677027\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Even if you look up in a redwood forest, you can never really see the top. \u003ccite>(Kathryn Whitney/California Academy of Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I love hiking among the massive redwoods in Big Basin Redwoods State Park and seeing huge whales swim in the bay. But I had no idea that it was no accident that these \u003ca href=\"https://www.kqed.org/science/1926434/the-giants-of-california-how-redwoods-and-whales-got-so-big\" rel=\"noopener\" target=\"_blank\">natural giants\u003c/a> took root in California.\u003c/p>\n\u003cp>Turns out, the state's ocean currents and famous fog create more food for blue whales and more water for our redwoods. Take that, Texas.\u003c/p>\n\u003ch2>4. \u003ca href=\"https://www.kqed.org/news/11678180/mid-century-style-hidden-away-in-state-capitol\" rel=\"noopener\" target=\"_blank\">These journalists are sitting on a gold mine\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_11678249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-800x450.jpg\" alt=\"Midcentury modern chairs sit behind rows of skinny tables in the Capitol press conference room, 1190.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11678249\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Midcentury modern chairs sit behind rows of skinny tables in the Capitol press conference room, 1190. \u003ccite>(Katie Orr/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, the bulky yellow, brown and tan chairs that fill the room at the state Capitol where governors make their big announcements just seem impractical. They're heavy and hard to move, and apparently they really hurt when they smash against your fingers. \u003c/p>\n\u003cp>But they’re also a classic midcentury design and could be worth \u003ca href=\"https://www.kqed.org/news/11678180/mid-century-style-hidden-away-in-state-capitol\" rel=\"noopener\" target=\"_blank\">some serious money\u003c/a>. They were created by renowned designers Charles and Ray Eames, and they could fetch hundreds of dollars each, according to one appraiser. \u003c/p>\n\u003cp>With 45 chairs in the room, that could add up to more than $20,000. Not bad for government chairs.\u003c/p>\n\u003ch2>5. \u003ca href=\"https://www.kqed.org/news/11678750/mexicos-loss-against-brazil-in-the-world-cup-doesnt-dampen-celebrations\" rel=\"noopener\" target=\"_blank\">Gooooooooaaaaaallllll\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_11678767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-800x530.jpg\" alt=\"Sunnyvale resident Nancy C. Silva expresses shock at the second goal by Brazil. "I'm heartbroken," she said. "We're still proud of our team, we're always here to support."\" width=\"800\" height=\"530\" class=\"size-medium wp-image-11678767\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-1200x796.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-960x637.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sunnyvale resident Nancy C. Silva expresses shock at the second goal by Brazil. \"I'm heartbroken,\" she said. \"We're still proud of our team, we're always here to support.\" \u003ccite>(Anne Wernikoff/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I'm not a huge soccer fan, but I can understand the excitement of watching the World Cup – seeing the best in the world compete at the highest level. And if you're going to watch a soccer match, it makes sense to watch it at a soccer stadium, even if you're in California.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So when Mexico took on Brazil this week, more than 7,500 people came from across the state to \u003ca href=\"https://www.kqed.org/news/11678750/mexicos-loss-against-brazil-in-the-world-cup-doesnt-dampen-celebrations\" rel=\"noopener\" target=\"_blank\">watch the match at Avaya Stadium\u003c/a> in San Jose before dawn. How cool is that?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Stay caught up with the best of KQED's reporting each week by subscribing to the \u003ca href=\"https://itunes.apple.com/us/podcast/qed-up/id1197721799?mt=2\" target=\"_blank\" rel=\"noopener\">Q'ed Up podcast\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Here's what's happening in our neck of the woods.\u003c/p>\n\u003ch2>1. \u003ca href=\"https://www.kqed.org/news/11679230/boots-riley-tommy-orange-and-the-summer-of-the-oakland-artist\" rel=\"noopener\" target=\"_blank\">Boots Riley, Tommy Orange and the Summer of Oakland\u003c/a>\u003c/h2>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few days ago, I was driving through Oakland and talking to a couple of friends who live on the other side of the country. We’re in a long distance book club together, and we were talking about what we should read next. \u003c/p>\n\u003cp>One of my friends lives in Arkansas, and she suggested this new book called “There There.” It’s about Native Americans living in Oakland, and it’s written by Tommy Orange — a Native American who grew up on Oakland. It also happens to be a New York Times bestseller, and Vox called it the “novel of the summer.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Add in \"Sorry to Bother You\" and \"Blindspotting\" — two movies coming out this summer set in Oakland and produced by Oakland natives — and it becomes clear: Oakland artists — especially artists of color — are \u003ca href=\"https://www.kqed.org/news/11679230/boots-riley-tommy-orange-and-the-summer-of-the-oakland-artist\" rel=\"noopener\" target=\"_blank\">having a moment\u003c/a>, and the whole country is taking note.\u003c/p>\n\u003ch2>2. \u003ca href=\"https://www.kqed.org/arts/13836666/provocative-textile-art-in-san-jose-targets-americas-tolerance-for-mass-shootings\" rel=\"noopener\" target=\"_blank\">Quilting against gun violence\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_11679411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/ww2.kqed_.orgRS31736_Photo-Jul-06-11-3-01cae30cd278e9f04d447bd8b2661dfde8ad05a6-800x450.jpg\" alt=\"'Quilted Reimagined American Flag Series III: Don't Live Matter?' 2016 by Kelly Burke. The orange and yellow stripes signify caution. The 50 shades of red stars represent pain and suffering. Look closely and you can see the names of specific incidents written on the cloth.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11679411\">\u003cfigcaption class=\"wp-caption-text\">'Quilted Reimagined American Flag Series III: Don't Live Matter?' 2016 by Kelly Burke. The orange and yellow stripes signify caution. The 50 shades of red stars represent pain and suffering. Look closely and you can see the names of specific incidents written on the cloth.\u003c/figcaption>\u003c/figure>\n\u003cp>When we think of political art, I don't think many of us think of quilts. But maybe we should. \u003c/p>\n\u003cp>From Betsy Ross to Cleve Jones and the AIDS Memorial Quilt, political quilts are nothing new. And now you can add anti-gun violence quilts to the list. \u003c/p>\n\u003cp>\"\u003ca href=\"https://www.kqed.org/arts/13836666/provocative-textile-art-in-san-jose-targets-americas-tolerance-for-mass-shootings\" rel=\"noopener\" target=\"_blank\">Guns: Loaded Conversations\u003c/a>,\" now on display at the San Jose Museum of Quilts and Textiles, was inspired by the shooting at the Pulse nightclub in Orlando in 2016, but the pieces in the exhibit go far beyond one shooting. \u003c/p>\n\u003ch2>3. \u003ca href=\"https://www.kqed.org/science/1926434/the-giants-of-california-how-redwoods-and-whales-got-so-big\" rel=\"noopener\" target=\"_blank\">Everything is bigger in California\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_11677027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/RedwoodForest2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11677027\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RedwoodForest2.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Even if you look up in a redwood forest, you can never really see the top. \u003ccite>(Kathryn Whitney/California Academy of Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I love hiking among the massive redwoods in Big Basin Redwoods State Park and seeing huge whales swim in the bay. But I had no idea that it was no accident that these \u003ca href=\"https://www.kqed.org/science/1926434/the-giants-of-california-how-redwoods-and-whales-got-so-big\" rel=\"noopener\" target=\"_blank\">natural giants\u003c/a> took root in California.\u003c/p>\n\u003cp>Turns out, the state's ocean currents and famous fog create more food for blue whales and more water for our redwoods. Take that, Texas.\u003c/p>\n\u003ch2>4. \u003ca href=\"https://www.kqed.org/news/11678180/mid-century-style-hidden-away-in-state-capitol\" rel=\"noopener\" target=\"_blank\">These journalists are sitting on a gold mine\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_11678249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-800x450.jpg\" alt=\"Midcentury modern chairs sit behind rows of skinny tables in the Capitol press conference room, 1190.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11678249\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31654_20180618_111527-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Midcentury modern chairs sit behind rows of skinny tables in the Capitol press conference room, 1190. \u003ccite>(Katie Orr/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, the bulky yellow, brown and tan chairs that fill the room at the state Capitol where governors make their big announcements just seem impractical. They're heavy and hard to move, and apparently they really hurt when they smash against your fingers. \u003c/p>\n\u003cp>But they’re also a classic midcentury design and could be worth \u003ca href=\"https://www.kqed.org/news/11678180/mid-century-style-hidden-away-in-state-capitol\" rel=\"noopener\" target=\"_blank\">some serious money\u003c/a>. They were created by renowned designers Charles and Ray Eames, and they could fetch hundreds of dollars each, according to one appraiser. \u003c/p>\n\u003cp>With 45 chairs in the room, that could add up to more than $20,000. Not bad for government chairs.\u003c/p>\n\u003ch2>5. \u003ca href=\"https://www.kqed.org/news/11678750/mexicos-loss-against-brazil-in-the-world-cup-doesnt-dampen-celebrations\" rel=\"noopener\" target=\"_blank\">Gooooooooaaaaaallllll\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_11678767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-800x530.jpg\" alt=\"Sunnyvale resident Nancy C. Silva expresses shock at the second goal by Brazil. "I'm heartbroken," she said. "We're still proud of our team, we're always here to support."\" width=\"800\" height=\"530\" class=\"size-medium wp-image-11678767\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-1200x796.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-960x637.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS31705_70218_MexicovBrazil_AW_18-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sunnyvale resident Nancy C. Silva expresses shock at the second goal by Brazil. \"I'm heartbroken,\" she said. \"We're still proud of our team, we're always here to support.\" \u003ccite>(Anne Wernikoff/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I'm not a huge soccer fan, but I can understand the excitement of watching the World Cup – seeing the best in the world compete at the highest level. And if you're going to watch a soccer match, it makes sense to watch it at a soccer stadium, even if you're in California.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So when Mexico took on Brazil this week, more than 7,500 people came from across the state to \u003ca href=\"https://www.kqed.org/news/11678750/mexicos-loss-against-brazil-in-the-world-cup-doesnt-dampen-celebrations\" rel=\"noopener\" target=\"_blank\">watch the match at Avaya Stadium\u003c/a> in San Jose before dawn. How cool is that?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>“What was the use of my having come from Oakland it was not natural to have come from there yes write about it if I like or any-thing if I like but not there, there is no there there.”\u003c/em>\u003c/p>\n\u003cp>— Gertrude Stein, 1937, “Everybody’s Autobiography”\u003c/p>\n\u003cp>That quote, much abused and shortened, taken out of context and misunderstood, has long been misapplied to Oakland. You’ve probably heard it, maybe even said it yourself, “there is no there there.” But Stein wasn’t talking about some lacunae at the heart of the town. She was talking about her own childhood home, her own neighborhood, that feeling we have when we return to the place where we were young only to find it no longer there.\u003c/p>\n\u003cp>“She was talking nostalgically, that the Oakland she knew no longer existed,” Ishmael Reed, the prolific \u003ca href=\"http://ishmaelreed.org/\" target=\"_blank\" rel=\"noopener\">Oakland-based novelist\u003c/a>, said, “a lot of people have taken that as a put down.”\u003c/p>\n\u003cp>Other writers have been clearly insulting in their takes on Oakland. “Bret Harte, when the earthquake hit, he said it didn’t do much damage in Oakland, because there are some places even the earth won’t swallow,” Reed said. “I mean that’s the kind of hit you get on Oakland.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reed has written around a dozen novels, and that does not include his \u003ca href=\"https://www.poetryfoundation.org/poets/ishmael-reed\" target=\"_blank\" rel=\"noopener\">countless books\u003c/a> of history, poems, criticism and plays. His latest, \u003ca href=\"https://africasacountry.com/2018/06/soul-brother-krishna\" target=\"_blank\" rel=\"noopener\">“Conjugating Hindi”\u003c/a>, set in part in California and Oakland, was published this year.\u003c/p>\n\u003cp>Writer Tommy Orange has also just published a book, his first novel, “There There.” It’s been heaped with praise by reviewers and has been on the \u003ca href=\"https://www.nytimes.com/2018/05/31/books/tommy-orange-there-there-native-american.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a> Best Sellers list for the past month.\u003c/p>\n\u003cp>https://twitter.com/AAKnopf/status/1007274371923234816\u003c/p>\n\u003cp>Orange said he set out to write an Oakland novel, a novel that contained the city he grew up in, which is why he picked the Stein quote. “’There, there’ has been used to say it doesn’t have culture. Or it doesn’t have place, or it doesn’t have a feel to it,” Orange said.\u003c/p>\n\u003cp>“It’s a very convenient quote if you’re gentrifying some place, to be like ‘there’s no place there anyway,’ or ‘nobodys from Oakland’,” Orange said. “All the new people here, all the new white people gentrifying, it’s very convenient to have that feeling.”\u003c/p>\n\u003cp>That feeling, Orange said, is just wrong.\u003c/p>\n\u003cp>This summer, Oakland artists are pushing back against the narrative of an invisible city, for all the world to see. They are portraying the place and the people from here with spectacular and sweeping visions, from a film that uses satirical science fiction to take on capitalism, racism and gentrification, to a story spanning the intertwining lives of urban Native Americans and their deep history in Oakland.\u003c/p>\n\u003cp>\u003cstrong>Sorry To Bother You\u003c/strong>\u003c/p>\n\u003cp>Boots Riley, musician with The Coup, \u003ca href=\"https://www.nytimes.com/2018/05/22/magazine/how-boots-riley-infiltrated-hollywood.html\" target=\"_blank\" rel=\"noopener\">activist, local intellectual and man-about-The-Town\u003c/a>, filmed his movie “Sorry To Bother You” over 28 days last summer in Oakland. Now, after getting attention on the festival circuit, it’s opening nationally.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XeISaoQDh2g\u003c/p>\n\u003cp>Riley said growing up in Oakland, he would endlessly \u003ca href=\"https://www.vanityfair.com/hollywood/2018/07/sorry-to-bother-you-boots-riley-oakland\" target=\"_blank\" rel=\"noopener\">ride the bus back and forth through the flatlands of the city\u003c/a>. From San Leandro, through East Oakland, all the way down Telegraph Avenue and into Berkeley.\u003c/p>\n\u003cp>“The Oakland that I grew up in was one in which we were constantly wanting to be engaged with something bigger than us,” Riley said. “We felt like there was nothing to do, we felt like there weren’t things available to us.”\u003c/p>\n\u003cp>Later, when they got older, they would drive in cars, “we didn’t get on the freeway because that trip was what it was all about, looking for signs of life.”\u003c/p>\n\u003cp>On those long car rides, they would pass boarded up buildings, neighborhoods abandoned by infrastructure, places and people in which the city did not invest. They would also find others like them, say hello while stopped at red lights, whole streams of young people driving in cars, looking for life and each other. It sounds like a scene out of “American Graffiti,” or any of our childhoods, before social media. But Riley said because these were black teenagers, Oakland passed anti-cruising laws, making what for so many was a rite of passage into an illegal activity.\u003c/p>\n\u003cp>That didn’t stop culture and creativity from creeping up through cracks in the concrete. The young people of Oakland made music, \u003ca href=\"https://www.kqed.org/news/11668394/spinning-rims-spinning-cars-the-history-of-the-oakland-sideshow\" target=\"_blank\" rel=\"noopener\">staged sideshows\u003c/a>, invented \u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">turfing\u003c/a>, a specific style of street dancing known for its fluid and hypnotic movements, and created a new genre of hip-hop that came to be called hyphy.\u003c/p>\n\u003cp>Riley said the city and local businesses continually put up bars to access and inclusion. Even when they had the artists and wanted to set up shows, the city wouldn’t approve permits for them, or would make them prohibitively expensive to put on. There was a fear of black people gathering en masse, he said. It wasn’t just the anti-cruising laws, it was also clamp downs on events like Festival at The Lake.\u003c/p>\n\u003cp>“Refusing access to places, has been a big part of my growing up,” Riley said. He said that was especially true when it came to music.\u003c/p>\n\u003cp>The most glaring example for Riley is \u003ca href=\"https://www.sfgate.com/news/article/Oakland-Pulls-Plug-on-Rap-Concert-City-rejects-2983526.php\" target=\"_blank\" rel=\"noopener\">Tupac Shakur\u003c/a>, who many claim as Oakland’s own. “Tupac couldn’t perform in Oakland,” Riley said. “They wouldn’t let it happen. The venues that existed in Oakland, wouldn’t do hip-hop.”\u003c/p>\n\u003cp>It was not that there was “no there there” for Riley, it was that systems of power and economic forces were working very hard against people being anywhere. If they were black.\u003c/p>\n\u003cp>https://youtu.be/X3mUlxpeLUg\u003c/p>\n\u003cp>\u003cstrong>Fighting Cliched Representation \u003c/strong>\u003c/p>\n\u003cp>Boots Riley’s film is now available to audiences across the country, representing Oakland to the world at large.\u003c/p>\n\u003cp>Feeling represented, feeling seen, is important, Riley said. He remembers when Sheila E. came back to her high school, Oakland High, where Riley was a student, to pass out tickets to her new movie, \u003ca href=\"https://www.youtube.com/watch?v=yjEJ5UqH0pY\" target=\"_blank\" rel=\"noopener\">Krush Groove\u003c/a>.\u003c/p>\n\u003cp>“She came to the school in her full Prince-style regalia,” he said. “It seemed like there was a light around her as she walked through the hall, like of your high school!”\u003c/p>\n\u003cp>“That meant that we meant something,” he said. “We were told so much that we are insignificant. Through life, and what we see on television or in the movies.”\u003c/p>\n\u003cp>Representation is important, but for Riley making this movie is about more than reflecting Oakland back to the people who live here. Representation is also about how Oakland appears to the outside world. Not just with images of the city and its residents, but the radical politics that thrive here, from the Black Panthers to Occupy Oakland to Black Lives Matter.\u003c/p>\n\u003cp>“I’m fighting cliche,” Riley said. “Usually when we make something, we tend to fall into the conventions of the people that have done it before.”\u003c/p>\n\u003cp>Representation on the left has problems of its own, Riley said. For him, diversifying representation is not enough. “Even on the left, we’ve moved away from class struggle in the last 50 years and started talking about things in terms of people’s personalities,” he said. “As an effect of the McCarthy era, even in places like public radio, people won’t put out an idea that makes them look like they might be a communist. So they water down their philosophy so much, that we lie to people, we tell each other that the way to change things is by letting our voice be heard.” This perpetuates a myth that representation — that ‘\u003ca href=\"http://www.pulitzer.org/article/not-giving-voice-voiceless\">giving voice to the voiceless\u003c/a>‘ as the cliche has it — is enough. For Riley, representation without rigorous class analysis, without tools for reshaping the power dynamics that cage the working class from the ruling class, can never be enough.\u003c/p>\n\u003cp>Art, Riley said, has the power to reshape our conceptions, even to spread the message that power structures can be dismantled by the withholding of labor. “Much of what we believe about the world, like what we envision of the world, is formed by works of art: Movies, TV.”\u003c/p>\n\u003cp>And yes, sometimes that does start with the way we see places. “Like I’ve never been to Delhi,” Riley said. “I’ve a picture in my head of what it looks like and that picture is not even from the news, it’s probably from James Bond movies, with really racist ideas about it.”\u003c/p>\n\u003cp>Oakland has not been immune from these kinds of racist, outsider representations. When President Donald Trump was a candidate, he was asked by the \u003ca href=\"https://www.nytimes.com/2016/05/22/magazine/donald-trump-primary-win.html?_r=1\" target=\"_blank\" rel=\"noopener\">New York Times where the most dangerous place he had ever been to was\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“There are places in America that are among the most dangerous in the world,” Trump responded. “You go to places like Oakland. Or Ferguson. The crime numbers are worse. Seriously.”\u003c/p>\u003c/blockquote>\n\u003cp>Oakland did have a high crime rate in the 1990’s and in the 2000’s, but the crime, and murder rate, has dropped significantly in recent years. It is not, by these statistics, one of the most dangerous cities in the United States, let alone the entire world.\u003c/p>\n\u003cp>But those broad brush strokes have shaped Oakland’s image for a long time, often erasing the culture, political and artistic, of people here.\u003c/p>\n\u003cp>Writer Tommy Orange is all too familiar with that myth of Oakland. “People know of Oakland, but it was like the murder capital in the 90’s and sort of has that representation,” he said.\u003c/p>\n\u003cp>Orange wanted to find different representations of his hometown. He searched for Oakland novels while writing his book, and was surprised to find so few.\u003c/p>\n\u003cp>“A lot of writing this,” Orange said, “came from the native invisibility, and then the Oakland invisibility thing.”\u003c/p>\n\u003cp>\u003cstrong>There There\u003c/strong>\u003c/p>\n\u003cp>For Orange, the Gertrude Stein quote speaks not just to the invisibility of Oakland, but the invisibility of native people, especially in cities. “For native people, similarly, we live on land that has been changed from what it was,” Orange said. “The novel is about identity and native identity, and figuring out how we make sense of living in the city.”\u003c/p>\n\u003cp>Orange came into an understanding of his identity, as what he calls an urban Indian, over time. Urban Indian is a term that has come to refer to native people who have moved and relocated, whether by force or choice, to cities and metropolitan areas.\u003c/p>\n\u003cp>“I would always say I’m native, but I’d probably say I’m half,” he said. “Because as a native person you’re constantly have to qualify yourself, or how much, or you’re actually being directly asked how much you are.”\u003c/p>\n\u003cp>“I knew my mom was white and my dad was Indian,” he said. “It was a conflict in the house to some extent, and I knew it was a deep conflict based on history, and that was just something that I always knew.”\u003c/p>\n\u003cp>But what he didn’t always know was where he fit. “There’s a difference identity-wise, if you were born on the rez, and you’re part of…” he pauses. “If you’re from a reservation you’re surrounded by people of your same tribe. People from the city, who grew up in the city, not only are you not around your tribe, you’re around a lot of non-Indian people.”\u003c/p>\n\u003cp>Orange’s parents divorced when he was 13-years-old, and he said his teenage years were hard. But in 2005, he got a job at the \u003ca href=\"http://www.nativehealth.org/\" target=\"_blank\" rel=\"noopener\">Native American Health Center\u003c/a> in Oakland, and found the urban Indian community here, “I felt that sense of belonging again, and belonging to a community of people that were like me,” he said. “I didn’t even know that community existed.”\u003c/p>\n\u003cp>“It definitely changed me in a big way to feel like, oh there’s other people like me here, and there’s a long history of us being here,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11679459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679459\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/therethere-800x533.jpg\" alt=\"A copy of Tommy Orange's "There There," a first novel from the author, which has been on the New York Times Best Sellers list for the past month.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">A copy of Tommy Orange’s “There There,” a first novel from the author, which has been on the New York Times Best Sellers list for the past month. \u003ccite>(Sandhya Dirks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He writes of that community in “There There”:\u003c/p>\n\u003cp>“We bought and rented homes, slept on the streets, under freeways, we went to school, joined the armed forces, populated Indian bars in the Fruitvale in Oakland, and in the Mission in San Francisco. We lived in boxcar villages in Richmond. We made art and we made babies and we made way for our people to go back and forth between reservation and city. We did not move to cities to die. The sidewalks and streets, the concrete absorbed our heaviness. The glass, metal, rubber and wires, the speed, the hurtling masses—the city took us in.”\u003c/p>\n\u003cp>Giving representation to the urban Indian, Orange said, is a big part of why he wrote this book. “It’s a totally different experience being an urban Indian than it is being a rez Indian, and so much of representation is based on reservation Indians or historical Indians,” he said.\u003c/p>\n\u003cp>“It risks being erased, if all you can refer to as self is historical — then you’re basically already gone.”\u003c/p>\n\u003cp>Gone, as in not there at all.\u003c/p>\n\u003cp>\u003cstrong>Here, Here\u003c/strong>\u003c/p>\n\u003cp>There are these subtle parallels between the experiences of exclusion and the search for significance and belonging in both Riley’s and Orange’s childhoods, and in their paths to storytelling.\u003c/p>\n\u003cp>But of course, the biggest parallel, is that they are both telling stories grounded in their Oaklands, which both are, and are not, the same place. Maybe it is a coincidence, that in the same summer, their work is finding acclaim before a national audience. Oakland seems to be having a moment in the zeitgeist.\u003c/p>\n\u003cp>Riley said that isn’t just happening in books and movies. His socialist and communist ideologies, of dismantling capitalism through withholding labor, are finding a foothold in national politics. Which is why Riley said despite everything that is happening in American politics right now, he is hopeful. “The population is much more radical than the democratic party,” Riley said. “There was a right wing think tank that did this study of millennials and they were \u003ca href=\"http://www.foxnews.com/us/2017/11/03/millennials-think-socialism-would-create-great-safe-space-study-finds.html\">up in arms\u003c/a> at the results,” Riley said. “The results were that \u003ca href=\"https://www.theguardian.com/us-news/2017/sep/02/socialism-young-americans-bernie-sanders\">one in two millennials think this should be a socialist society\u003c/a>, and that gives me hope.”\u003c/p>\n\u003cfigure id=\"attachment_11679334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679334\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-986802002-800x533.jpg\" alt=\"Director Boots Riley attends the Film Independent At LACMA Presents Screening And Q&A Of 'Sorry To Bother You' at Bing Theater At LACMA on June 28, 2018 in Los Angeles, California.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Director Boots Riley attends the Film Independent At LACMA Presents Screening And Q&A Of ‘Sorry To Bother You’ at Bing Theater At LACMA on June 28, 2018 in Los Angeles, California. \u003ccite>(Tommaso Boddi/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley sees artists like himself being embraced as part of a deeper change in radical representation. Tommy Orange also sees his success as part of a larger phenomenon, both of Native writers, and of the city he is from.\u003c/p>\n\u003cp>“Oakland’s having a great year,” Orange said. He’s referring not only to Riley and himself, but also a certain hometown basketball team. “And hopefully that will not be a wave that comes and goes and recedes.”\u003c/p>\n\u003cp>Recently Orange had his own Gertrude Stein moment, going back to the street he grew up on. But unlike with Stein, his house was still there. He took his wife and son, and they had a picnic near his childhood home.\u003c/p>\n\u003cp>“It looked totally small, because when you go back to things from your childhood you just feel big, because you are bigger,” he said. “But there’s also something about memory and the way size and scope changes.”\u003c/p>\n\u003cp>There was another change he noticed too, “the money that has come into Oakland, has changed the street. It was a lot nicer than I remember it,” he laughed.\u003c/p>\n\u003cp>Orange said the people still felt very much the same. But that isn’t true for everyone.\u003c/p>\n\u003cp>Oakland writer Ishmael Reed said he doesn’t recognize his neighborhood anymore. “This used to be a black neighborhood,” he said. “It’s now, no longer that. Everybody knew everybody, it was like more of a family neighborhood. But now, people seem to be alienated.”\u003c/p>\n\u003cp>Here comes the classic moment in any Oakland story, that always turns the knife. The city in which both Riley and Orange were raised is changing. And for many Native and black people, it is no longer affordable. At the same moment that these storytellers are gaining national attention for their work about diverse and complicated Oakland, it has become less and less possible for black and Native people to afford to live here. In the glow of all this representation, of them showing the \u003cem>there\u003c/em> that is \u003cem>here\u003c/em>, the people that have been here all along, can’t always stay.\u003c/p>\n\u003cp>Tommy Orange and his family do not live in Oakland, because he has not been able to afford the steadily rising rents.\u003c/p>\n\u003cp>“We’re currently live out in Angels Camp,” he said. “Were thinking of moving back in the fall, because now we can afford it. And we haven’t been able to move back, because we haven’t been able to afford it.”\u003c/p>\n\u003cp>Now, with the success of his new book, he may just be able to come back. Writing a book about his beloved Oakland, may have provided him the resources to return home.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If we make it back in the fall,” Orange said, “I’ll think of it like that. Like Oakland allowed me to come back.”\u003c/p>\n\n",
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"excerpt": "Oakland is ready for its closeup. We take a little tour through Oakland's cinematic and literary history to see how the summer of 2018 is different.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“What was the use of my having come from Oakland it was not natural to have come from there yes write about it if I like or any-thing if I like but not there, there is no there there.”\u003c/em>\u003c/p>\n\u003cp>— Gertrude Stein, 1937, “Everybody’s Autobiography”\u003c/p>\n\u003cp>That quote, much abused and shortened, taken out of context and misunderstood, has long been misapplied to Oakland. You’ve probably heard it, maybe even said it yourself, “there is no there there.” But Stein wasn’t talking about some lacunae at the heart of the town. She was talking about her own childhood home, her own neighborhood, that feeling we have when we return to the place where we were young only to find it no longer there.\u003c/p>\n\u003cp>“She was talking nostalgically, that the Oakland she knew no longer existed,” Ishmael Reed, the prolific \u003ca href=\"http://ishmaelreed.org/\" target=\"_blank\" rel=\"noopener\">Oakland-based novelist\u003c/a>, said, “a lot of people have taken that as a put down.”\u003c/p>\n\u003cp>Other writers have been clearly insulting in their takes on Oakland. “Bret Harte, when the earthquake hit, he said it didn’t do much damage in Oakland, because there are some places even the earth won’t swallow,” Reed said. “I mean that’s the kind of hit you get on Oakland.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reed has written around a dozen novels, and that does not include his \u003ca href=\"https://www.poetryfoundation.org/poets/ishmael-reed\" target=\"_blank\" rel=\"noopener\">countless books\u003c/a> of history, poems, criticism and plays. His latest, \u003ca href=\"https://africasacountry.com/2018/06/soul-brother-krishna\" target=\"_blank\" rel=\"noopener\">“Conjugating Hindi”\u003c/a>, set in part in California and Oakland, was published this year.\u003c/p>\n\u003cp>Writer Tommy Orange has also just published a book, his first novel, “There There.” It’s been heaped with praise by reviewers and has been on the \u003ca href=\"https://www.nytimes.com/2018/05/31/books/tommy-orange-there-there-native-american.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a> Best Sellers list for the past month.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Orange said he set out to write an Oakland novel, a novel that contained the city he grew up in, which is why he picked the Stein quote. “’There, there’ has been used to say it doesn’t have culture. Or it doesn’t have place, or it doesn’t have a feel to it,” Orange said.\u003c/p>\n\u003cp>“It’s a very convenient quote if you’re gentrifying some place, to be like ‘there’s no place there anyway,’ or ‘nobodys from Oakland’,” Orange said. “All the new people here, all the new white people gentrifying, it’s very convenient to have that feeling.”\u003c/p>\n\u003cp>That feeling, Orange said, is just wrong.\u003c/p>\n\u003cp>This summer, Oakland artists are pushing back against the narrative of an invisible city, for all the world to see. They are portraying the place and the people from here with spectacular and sweeping visions, from a film that uses satirical science fiction to take on capitalism, racism and gentrification, to a story spanning the intertwining lives of urban Native Americans and their deep history in Oakland.\u003c/p>\n\u003cp>\u003cstrong>Sorry To Bother You\u003c/strong>\u003c/p>\n\u003cp>Boots Riley, musician with The Coup, \u003ca href=\"https://www.nytimes.com/2018/05/22/magazine/how-boots-riley-infiltrated-hollywood.html\" target=\"_blank\" rel=\"noopener\">activist, local intellectual and man-about-The-Town\u003c/a>, filmed his movie “Sorry To Bother You” over 28 days last summer in Oakland. Now, after getting attention on the festival circuit, it’s opening nationally.\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/XeISaoQDh2g'\n title='//www.youtube.com/embed/XeISaoQDh2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Riley said growing up in Oakland, he would endlessly \u003ca href=\"https://www.vanityfair.com/hollywood/2018/07/sorry-to-bother-you-boots-riley-oakland\" target=\"_blank\" rel=\"noopener\">ride the bus back and forth through the flatlands of the city\u003c/a>. From San Leandro, through East Oakland, all the way down Telegraph Avenue and into Berkeley.\u003c/p>\n\u003cp>“The Oakland that I grew up in was one in which we were constantly wanting to be engaged with something bigger than us,” Riley said. “We felt like there was nothing to do, we felt like there weren’t things available to us.”\u003c/p>\n\u003cp>Later, when they got older, they would drive in cars, “we didn’t get on the freeway because that trip was what it was all about, looking for signs of life.”\u003c/p>\n\u003cp>On those long car rides, they would pass boarded up buildings, neighborhoods abandoned by infrastructure, places and people in which the city did not invest. They would also find others like them, say hello while stopped at red lights, whole streams of young people driving in cars, looking for life and each other. It sounds like a scene out of “American Graffiti,” or any of our childhoods, before social media. But Riley said because these were black teenagers, Oakland passed anti-cruising laws, making what for so many was a rite of passage into an illegal activity.\u003c/p>\n\u003cp>That didn’t stop culture and creativity from creeping up through cracks in the concrete. The young people of Oakland made music, \u003ca href=\"https://www.kqed.org/news/11668394/spinning-rims-spinning-cars-the-history-of-the-oakland-sideshow\" target=\"_blank\" rel=\"noopener\">staged sideshows\u003c/a>, invented \u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">turfing\u003c/a>, a specific style of street dancing known for its fluid and hypnotic movements, and created a new genre of hip-hop that came to be called hyphy.\u003c/p>\n\u003cp>Riley said the city and local businesses continually put up bars to access and inclusion. Even when they had the artists and wanted to set up shows, the city wouldn’t approve permits for them, or would make them prohibitively expensive to put on. There was a fear of black people gathering en masse, he said. It wasn’t just the anti-cruising laws, it was also clamp downs on events like Festival at The Lake.\u003c/p>\n\u003cp>“Refusing access to places, has been a big part of my growing up,” Riley said. He said that was especially true when it came to music.\u003c/p>\n\u003cp>The most glaring example for Riley is \u003ca href=\"https://www.sfgate.com/news/article/Oakland-Pulls-Plug-on-Rap-Concert-City-rejects-2983526.php\" target=\"_blank\" rel=\"noopener\">Tupac Shakur\u003c/a>, who many claim as Oakland’s own. “Tupac couldn’t perform in Oakland,” Riley said. “They wouldn’t let it happen. The venues that existed in Oakland, wouldn’t do hip-hop.”\u003c/p>\n\u003cp>It was not that there was “no there there” for Riley, it was that systems of power and economic forces were working very hard against people being anywhere. If they were black.\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/X3mUlxpeLUg'\n title='//www.youtube.com/embed/X3mUlxpeLUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Fighting Cliched Representation \u003c/strong>\u003c/p>\n\u003cp>Boots Riley’s film is now available to audiences across the country, representing Oakland to the world at large.\u003c/p>\n\u003cp>Feeling represented, feeling seen, is important, Riley said. He remembers when Sheila E. came back to her high school, Oakland High, where Riley was a student, to pass out tickets to her new movie, \u003ca href=\"https://www.youtube.com/watch?v=yjEJ5UqH0pY\" target=\"_blank\" rel=\"noopener\">Krush Groove\u003c/a>.\u003c/p>\n\u003cp>“She came to the school in her full Prince-style regalia,” he said. “It seemed like there was a light around her as she walked through the hall, like of your high school!”\u003c/p>\n\u003cp>“That meant that we meant something,” he said. “We were told so much that we are insignificant. Through life, and what we see on television or in the movies.”\u003c/p>\n\u003cp>Representation is important, but for Riley making this movie is about more than reflecting Oakland back to the people who live here. Representation is also about how Oakland appears to the outside world. Not just with images of the city and its residents, but the radical politics that thrive here, from the Black Panthers to Occupy Oakland to Black Lives Matter.\u003c/p>\n\u003cp>“I’m fighting cliche,” Riley said. “Usually when we make something, we tend to fall into the conventions of the people that have done it before.”\u003c/p>\n\u003cp>Representation on the left has problems of its own, Riley said. For him, diversifying representation is not enough. “Even on the left, we’ve moved away from class struggle in the last 50 years and started talking about things in terms of people’s personalities,” he said. “As an effect of the McCarthy era, even in places like public radio, people won’t put out an idea that makes them look like they might be a communist. So they water down their philosophy so much, that we lie to people, we tell each other that the way to change things is by letting our voice be heard.” This perpetuates a myth that representation — that ‘\u003ca href=\"http://www.pulitzer.org/article/not-giving-voice-voiceless\">giving voice to the voiceless\u003c/a>‘ as the cliche has it — is enough. For Riley, representation without rigorous class analysis, without tools for reshaping the power dynamics that cage the working class from the ruling class, can never be enough.\u003c/p>\n\u003cp>Art, Riley said, has the power to reshape our conceptions, even to spread the message that power structures can be dismantled by the withholding of labor. “Much of what we believe about the world, like what we envision of the world, is formed by works of art: Movies, TV.”\u003c/p>\n\u003cp>And yes, sometimes that does start with the way we see places. “Like I’ve never been to Delhi,” Riley said. “I’ve a picture in my head of what it looks like and that picture is not even from the news, it’s probably from James Bond movies, with really racist ideas about it.”\u003c/p>\n\u003cp>Oakland has not been immune from these kinds of racist, outsider representations. When President Donald Trump was a candidate, he was asked by the \u003ca href=\"https://www.nytimes.com/2016/05/22/magazine/donald-trump-primary-win.html?_r=1\" target=\"_blank\" rel=\"noopener\">New York Times where the most dangerous place he had ever been to was\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“There are places in America that are among the most dangerous in the world,” Trump responded. “You go to places like Oakland. Or Ferguson. The crime numbers are worse. Seriously.”\u003c/p>\u003c/blockquote>\n\u003cp>Oakland did have a high crime rate in the 1990’s and in the 2000’s, but the crime, and murder rate, has dropped significantly in recent years. It is not, by these statistics, one of the most dangerous cities in the United States, let alone the entire world.\u003c/p>\n\u003cp>But those broad brush strokes have shaped Oakland’s image for a long time, often erasing the culture, political and artistic, of people here.\u003c/p>\n\u003cp>Writer Tommy Orange is all too familiar with that myth of Oakland. “People know of Oakland, but it was like the murder capital in the 90’s and sort of has that representation,” he said.\u003c/p>\n\u003cp>Orange wanted to find different representations of his hometown. He searched for Oakland novels while writing his book, and was surprised to find so few.\u003c/p>\n\u003cp>“A lot of writing this,” Orange said, “came from the native invisibility, and then the Oakland invisibility thing.”\u003c/p>\n\u003cp>\u003cstrong>There There\u003c/strong>\u003c/p>\n\u003cp>For Orange, the Gertrude Stein quote speaks not just to the invisibility of Oakland, but the invisibility of native people, especially in cities. “For native people, similarly, we live on land that has been changed from what it was,” Orange said. “The novel is about identity and native identity, and figuring out how we make sense of living in the city.”\u003c/p>\n\u003cp>Orange came into an understanding of his identity, as what he calls an urban Indian, over time. Urban Indian is a term that has come to refer to native people who have moved and relocated, whether by force or choice, to cities and metropolitan areas.\u003c/p>\n\u003cp>“I would always say I’m native, but I’d probably say I’m half,” he said. “Because as a native person you’re constantly have to qualify yourself, or how much, or you’re actually being directly asked how much you are.”\u003c/p>\n\u003cp>“I knew my mom was white and my dad was Indian,” he said. “It was a conflict in the house to some extent, and I knew it was a deep conflict based on history, and that was just something that I always knew.”\u003c/p>\n\u003cp>But what he didn’t always know was where he fit. “There’s a difference identity-wise, if you were born on the rez, and you’re part of…” he pauses. “If you’re from a reservation you’re surrounded by people of your same tribe. People from the city, who grew up in the city, not only are you not around your tribe, you’re around a lot of non-Indian people.”\u003c/p>\n\u003cp>Orange’s parents divorced when he was 13-years-old, and he said his teenage years were hard. But in 2005, he got a job at the \u003ca href=\"http://www.nativehealth.org/\" target=\"_blank\" rel=\"noopener\">Native American Health Center\u003c/a> in Oakland, and found the urban Indian community here, “I felt that sense of belonging again, and belonging to a community of people that were like me,” he said. “I didn’t even know that community existed.”\u003c/p>\n\u003cp>“It definitely changed me in a big way to feel like, oh there’s other people like me here, and there’s a long history of us being here,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11679459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679459\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/therethere-800x533.jpg\" alt=\"A copy of Tommy Orange's "There There," a first novel from the author, which has been on the New York Times Best Sellers list for the past month.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">A copy of Tommy Orange’s “There There,” a first novel from the author, which has been on the New York Times Best Sellers list for the past month. \u003ccite>(Sandhya Dirks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He writes of that community in “There There”:\u003c/p>\n\u003cp>“We bought and rented homes, slept on the streets, under freeways, we went to school, joined the armed forces, populated Indian bars in the Fruitvale in Oakland, and in the Mission in San Francisco. We lived in boxcar villages in Richmond. We made art and we made babies and we made way for our people to go back and forth between reservation and city. We did not move to cities to die. The sidewalks and streets, the concrete absorbed our heaviness. The glass, metal, rubber and wires, the speed, the hurtling masses—the city took us in.”\u003c/p>\n\u003cp>Giving representation to the urban Indian, Orange said, is a big part of why he wrote this book. “It’s a totally different experience being an urban Indian than it is being a rez Indian, and so much of representation is based on reservation Indians or historical Indians,” he said.\u003c/p>\n\u003cp>“It risks being erased, if all you can refer to as self is historical — then you’re basically already gone.”\u003c/p>\n\u003cp>Gone, as in not there at all.\u003c/p>\n\u003cp>\u003cstrong>Here, Here\u003c/strong>\u003c/p>\n\u003cp>There are these subtle parallels between the experiences of exclusion and the search for significance and belonging in both Riley’s and Orange’s childhoods, and in their paths to storytelling.\u003c/p>\n\u003cp>But of course, the biggest parallel, is that they are both telling stories grounded in their Oaklands, which both are, and are not, the same place. Maybe it is a coincidence, that in the same summer, their work is finding acclaim before a national audience. Oakland seems to be having a moment in the zeitgeist.\u003c/p>\n\u003cp>Riley said that isn’t just happening in books and movies. His socialist and communist ideologies, of dismantling capitalism through withholding labor, are finding a foothold in national politics. Which is why Riley said despite everything that is happening in American politics right now, he is hopeful. “The population is much more radical than the democratic party,” Riley said. “There was a right wing think tank that did this study of millennials and they were \u003ca href=\"http://www.foxnews.com/us/2017/11/03/millennials-think-socialism-would-create-great-safe-space-study-finds.html\">up in arms\u003c/a> at the results,” Riley said. “The results were that \u003ca href=\"https://www.theguardian.com/us-news/2017/sep/02/socialism-young-americans-bernie-sanders\">one in two millennials think this should be a socialist society\u003c/a>, and that gives me hope.”\u003c/p>\n\u003cfigure id=\"attachment_11679334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679334\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-986802002-800x533.jpg\" alt=\"Director Boots Riley attends the Film Independent At LACMA Presents Screening And Q&A Of 'Sorry To Bother You' at Bing Theater At LACMA on June 28, 2018 in Los Angeles, California.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Director Boots Riley attends the Film Independent At LACMA Presents Screening And Q&A Of ‘Sorry To Bother You’ at Bing Theater At LACMA on June 28, 2018 in Los Angeles, California. \u003ccite>(Tommaso Boddi/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley sees artists like himself being embraced as part of a deeper change in radical representation. Tommy Orange also sees his success as part of a larger phenomenon, both of Native writers, and of the city he is from.\u003c/p>\n\u003cp>“Oakland’s having a great year,” Orange said. He’s referring not only to Riley and himself, but also a certain hometown basketball team. “And hopefully that will not be a wave that comes and goes and recedes.”\u003c/p>\n\u003cp>Recently Orange had his own Gertrude Stein moment, going back to the street he grew up on. But unlike with Stein, his house was still there. He took his wife and son, and they had a picnic near his childhood home.\u003c/p>\n\u003cp>“It looked totally small, because when you go back to things from your childhood you just feel big, because you are bigger,” he said. “But there’s also something about memory and the way size and scope changes.”\u003c/p>\n\u003cp>There was another change he noticed too, “the money that has come into Oakland, has changed the street. It was a lot nicer than I remember it,” he laughed.\u003c/p>\n\u003cp>Orange said the people still felt very much the same. But that isn’t true for everyone.\u003c/p>\n\u003cp>Oakland writer Ishmael Reed said he doesn’t recognize his neighborhood anymore. “This used to be a black neighborhood,” he said. “It’s now, no longer that. Everybody knew everybody, it was like more of a family neighborhood. But now, people seem to be alienated.”\u003c/p>\n\u003cp>Here comes the classic moment in any Oakland story, that always turns the knife. The city in which both Riley and Orange were raised is changing. And for many Native and black people, it is no longer affordable. At the same moment that these storytellers are gaining national attention for their work about diverse and complicated Oakland, it has become less and less possible for black and Native people to afford to live here. In the glow of all this representation, of them showing the \u003cem>there\u003c/em> that is \u003cem>here\u003c/em>, the people that have been here all along, can’t always stay.\u003c/p>\n\u003cp>Tommy Orange and his family do not live in Oakland, because he has not been able to afford the steadily rising rents.\u003c/p>\n\u003cp>“We’re currently live out in Angels Camp,” he said. “Were thinking of moving back in the fall, because now we can afford it. And we haven’t been able to move back, because we haven’t been able to afford it.”\u003c/p>\n\u003cp>Now, with the success of his new book, he may just be able to come back. Writing a book about his beloved Oakland, may have provided him the resources to return home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If we make it back in the fall,” Orange said, “I’ll think of it like that. Like Oakland allowed me to come back.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Flower Piano at the San Francisco Botanical Garden Goes Into Full Bloom",
"title": "Flower Piano at the San Francisco Botanical Garden Goes Into Full Bloom",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>This weekend marks the fourth annual \u003ca href=\"https://www.sfbotanicalgarden.org/flowerpiano/\" rel=\"noopener\" target=\"_blank\">Flower Piano\u003c/a> festival in San Francisco. The Flower Piano festival is a partnership between the \u003ca href=\"https://sfbotanicalgarden.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Botanical Gardens\u003c/a> and Sunset Piano. \u003c/p>\n\u003cp>For 12 days, a dozen pianos are scattered around the park. There are baby grand pianos tucked underneath willow trees, stand-up pianos out in the meadow. And throughout the garden, tendrils of music seem to waft through the air.\u003c/p>\n\u003cfigure id=\"attachment_11679418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/hpWjMdkA-800x600.jpeg\" alt=\"A baby grand piano sits in the Zellerbach garden.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11679418\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-1200x900.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA.jpeg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A baby grand piano sits in the Zellerbach garden. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brendan Lange is the Director of Visitor Experience and Marketing at the San Francisco Botanical Gardens. He says that Flower Piano can be a kind of “side door” into the garden. \u003c/p>\n\u003cp>“Maybe not everyone is so into plants,” says Lange, “but when you add a different element, you add music, it adds a different way for people to visit the garden. \u003c/p>\n\u003cp>https://twitter.com/michelleewiley/status/1015665658158186496\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guests are encouraged to play the pianos as they enjoy the scenery of the gardens. \u003c/p>\n\u003cp>One of those guests is Dale Hadley. He’s sitting under a large tree in a wooded area and playing ragtime. \u003c/p>\n\u003cfigure id=\"attachment_11679419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/P3lY-l2Q-800x600.jpeg\" alt=\"Don Hadley plays one of the pianos underneath a totara tree.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11679419\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-1200x900.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q.jpeg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don Hadley plays one of the pianos underneath a totara tree. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s been playing the piano since he was five-years-old. He says if it weren’t for Flower Piano, he wouldn’t have the same opportunity to play instruments like these. \u003c/p>\n\u003cp>“Some cities have street pianos, but they’re limited and pianos aren’t very good,” says Hadley. “The pianos here this year are excellent, and they’re even better than last year’s pianos.”\u003c/p>\n\u003cp>https://twitter.com/michelleewiley/status/1015666059750268929\u003c/p>\n\u003cp>Pianos in the garden are tuned at least twice a week to ensure the instruments are in top shape, especially with the Bay Area’s temperamental climate.\u003c/p>\n\u003cfigure id=\"attachment_11679420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/cQXqd_SQ-800x600.jpeg\" alt=\"Guests at the Great Meadow Flower Piano patiently wait their turn to play.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11679420\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-1200x900.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ.jpeg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at the Great Meadow Flower Piano patiently wait their turn to play. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After playing in the garden last year, Hadley was invited to perform in the Piano Extravaganza. That’s when musicians from all over the Bay Area, including those from the San Francisco Symphony, will come to play for a few hours. \u003c/p>\n\u003cp>Hadley will be there Sunday afternoon, playing “the softer side of ragtime.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/michelleewiley/status/1015666563511250946\u003c/p>\n\n",
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"excerpt": "This weekend marks the fourth annual Flower Piano festival in San Francisco.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend marks the fourth annual \u003ca href=\"https://www.sfbotanicalgarden.org/flowerpiano/\" rel=\"noopener\" target=\"_blank\">Flower Piano\u003c/a> festival in San Francisco. The Flower Piano festival is a partnership between the \u003ca href=\"https://sfbotanicalgarden.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Botanical Gardens\u003c/a> and Sunset Piano. \u003c/p>\n\u003cp>For 12 days, a dozen pianos are scattered around the park. There are baby grand pianos tucked underneath willow trees, stand-up pianos out in the meadow. And throughout the garden, tendrils of music seem to waft through the air.\u003c/p>\n\u003cfigure id=\"attachment_11679418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/hpWjMdkA-800x600.jpeg\" alt=\"A baby grand piano sits in the Zellerbach garden.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11679418\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-1200x900.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/hpWjMdkA.jpeg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A baby grand piano sits in the Zellerbach garden. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brendan Lange is the Director of Visitor Experience and Marketing at the San Francisco Botanical Gardens. He says that Flower Piano can be a kind of “side door” into the garden. \u003c/p>\n\u003cp>“Maybe not everyone is so into plants,” says Lange, “but when you add a different element, you add music, it adds a different way for people to visit the garden. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guests are encouraged to play the pianos as they enjoy the scenery of the gardens. \u003c/p>\n\u003cp>One of those guests is Dale Hadley. He’s sitting under a large tree in a wooded area and playing ragtime. \u003c/p>\n\u003cfigure id=\"attachment_11679419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/P3lY-l2Q-800x600.jpeg\" alt=\"Don Hadley plays one of the pianos underneath a totara tree.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11679419\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-1200x900.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/P3lY-l2Q.jpeg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don Hadley plays one of the pianos underneath a totara tree. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s been playing the piano since he was five-years-old. He says if it weren’t for Flower Piano, he wouldn’t have the same opportunity to play instruments like these. \u003c/p>\n\u003cp>“Some cities have street pianos, but they’re limited and pianos aren’t very good,” says Hadley. “The pianos here this year are excellent, and they’re even better than last year’s pianos.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Pianos in the garden are tuned at least twice a week to ensure the instruments are in top shape, especially with the Bay Area’s temperamental climate.\u003c/p>\n\u003cfigure id=\"attachment_11679420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/cQXqd_SQ-800x600.jpeg\" alt=\"Guests at the Great Meadow Flower Piano patiently wait their turn to play.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11679420\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-1200x900.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/cQXqd_SQ.jpeg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at the Great Meadow Flower Piano patiently wait their turn to play. \u003ccite>(Michelle Wiley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After playing in the garden last year, Hadley was invited to perform in the Piano Extravaganza. That’s when musicians from all over the Bay Area, including those from the San Francisco Symphony, will come to play for a few hours. \u003c/p>\n\u003cp>Hadley will be there Sunday afternoon, playing “the softer side of ragtime.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>During World War II, shipbuilding was big business along the West Coast. Hundreds of thousands of workers throughout the Bay Area held down jobs at places like the Alameda Works Shipyard.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>This week’s question asker, Kim Kay, lives in Alameda — not far from that old shipyard.\u003c/p>\n\u003cp>A while back, she heard a story from a friend about a handful of small homes tucked away on a little street called Tregloan Court.\u003c/p>\n\u003cp>“I had heard that the houses on that street were built for small people during World War II for shipbuilding,” Kay says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rumor has it the shipyard employed little people — and these small houses were where they lived. Kay and her friend went to check them out.\u003c/p>\n\u003cp>“You know, when you first look at them you wouldn’t really notice that they were small,” Kay says. “But if you were to walk up to the front door, you would really realize that they are quite small.”\u003c/p>\n\u003cp>She was intrigued, though she had her doubts about the story.\u003c/p>\n\u003cp>“It seemed interesting,” she says. “But then my thought was, Kaiser was building ships in Richmond. Is there a street like this in Richmond? Are there small houses in San Francisco? I mean, if that’s true, there must be little houses up and down the coast of California.”\u003c/p>\n\u003cfigure id=\"attachment_11653547\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11653547\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/Facebook-screen-shot-800x768.png\" alt=\"Screenshot from a Facebook page discussion about the little houses on Tregloan Street.\" width=\"800\" height=\"768\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-800x768.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-160x154.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-1020x979.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-960x922.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-240x230.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-375x360.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-520x499.png 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot.png 1054w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Screen shot from a Facebook page discussion about the little houses on Tregloan Street. \u003ccite>(Photo: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It turns out Kay and her friend aren’t the only people to have heard the rumor about the little people houses on Tregloan Court. There are mentions about it on Facebook, and quite a few Alameda locals nod in recognition when you ask them about it.\u003c/p>\n\u003cp>“It’s like if you walked into fairyland and you see a home that was designed small,” says Allen Tai, who works for the Alameda Planning Department.\u003c/p>\n\u003cp>The houses in question aren’t exactly miniature homes, though it’s possible that some people might see them that way because of the bucolic setting.\u003c/p>\n\u003cp>Tregloan Court is lined with fruit trees and babbling water fountains. The houses themselves are very cute. They’re made of wood and are smaller in scale than the grand Victorian homes that you also find on the street. They have period details and neat, well-groomed little yards.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003cdiv style=\"text-align: left\">\n\u003ch3>More Bay Area Myths\u003c/h3>\n\u003cfigure id=\"attachment_11678021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11678021\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grendelkhan/Wikicommons\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Myth:\u003c/strong> Palo Alto’s black squirrels are the result of a Stanford experiment gone wrong.\u003cbr>\n\u003cstrong>Busted:\u003c/strong> Those black squirrels are actually eastern gray squirrels whose parents both had a normal gene mutation for fur color. They’re basically the redheads of the squirrel world.\u003cbr>\n\u003cstrong>Question Asker:\u003c/strong> Eyal Cidon\u003c/p>\n\u003c/div>\n\u003c/aside>\n\u003cp>But while the “Middle Earth” quality to these buildings may explain why they’re associated with little people and the like, KQED’s research suggests there’s absolutely no validity to the story about the homes serving as dwellings for little shipyard workers during wartime.\u003c/p>\n\u003cp>Experts we spoke with included people in the Alameda Planning Department, neighbors and a number of local historians. They were unanimous in their debunking of the myth.\u003c/p>\n\u003cp>“I’ve never come across a shred of hard evidence supporting the story,” says Alameda historian Woody Minor.\u003c/p>\n\u003cp>“I don’t believe they were really built for little people,” says Barbara Stuber, who has lived in one of the larger Victorian homes on Tregloan Court since 1975. “I mean we don’t have little leprechauns living in our street, even though you have a little fairy door down there on the telephone pole.”\u003c/p>\n\u003cfigure id=\"attachment_11653560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11653560\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/IMG-7647-800x600.jpg\" alt=\"Tregloan Court resident Barbara Stuber has been living on the street since 1975.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tregloan Court resident Barbara Stuber has been living on the street since 1975. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Old building permit records at Alameda City Hall show the homes in question were built some years before the Second World War, in the mid-1930s. And while they’re modest in size, at around 1,000 square feet with two or three bedrooms, the homes are nothing near the scale of the tiny houses that are all the rage these days.\u003c/p>\n\u003cp>That being said, the lots are pretty small. City records show Tregloan Court originally had larger lots that were divided up to get more bang for the buck. Historian Minor puts this in the context of the real estate boom that started in the late 1800s.\u003c/p>\n\u003cfigure id=\"attachment_11653561\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11653561\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/IMG_7748-e1520039699868-800x600.jpg\" alt=\"Old city fire insurance records show how the lots on Tregloan Court used to look, prior to being divided up.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Old city fire insurance records show how the lots on Tregloan Court used to look, prior to being divided up. \u003ccite>(Photo: Courtesy Alameda Planning Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of the old historic Gold Rush-era farms in the east end of Alameda, which is where the town began, began to be subdivided and developed with housing at this time,” Minor says. “Tregloan Court represents sort of a cameo miniature example of this.”\u003c/p>\n\u003cp>The diminutive cottages on Tregloan Court aren’t even all that unique. There are the Stonehenge bungalows on Alameda’s Santa Clara Avenue, built around 1930. There’s also a series of small dwellings at Marion Court on Alameda’s west side. And there are similar developments in other parts of the Bay Area, too.\u003c/p>\n\u003cp>And no historian KQED spoke with had ever heard of shipyards in the area expressly employing little people as part of the workforce. (Though, of course, their employees probably came in all shapes and sizes.)\u003c/p>\n\u003caside class=\"alignleft\">\n\u003cdiv style=\"text-align: left\">\n\u003ch3>More Bay Area Myths\u003c/h3>\n\u003cfigure id=\"attachment_11678019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11678019\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-800x608.jpg\" alt=\"\" width=\"800\" height=\"608\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-800x608.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-160x122.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-1020x775.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-1200x912.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-1180x897.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-960x729.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-240x182.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-375x285.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-520x395.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut.jpg 1824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">PhyreWorX/Flickr\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cdiv style=\"text-align: left\">\u003cstrong>Myth:\u003c/strong> It’s illegal to eat an orange in the bathtub in California.\u003cbr>\n\u003cstrong>Busted:\u003c/strong> The word “orange” appears in state law 372 times, but not once does it have anything to do with a bathtub.\u003cbr>\n\u003cstrong>Question Asker:\u003c/strong> Zachary Nemirovsky\u003c/div>\n\u003c/aside>\n\u003cp>No one really has a clue about how the myth got started and spread, though. It was most likely some combination of the houses being cute and on the smaller side, Alameda’s shipbuilding past, and the rumor-spreading power of the internet.\u003c/p>\n\u003cp>Minor says there are a bunch of weird myths relating to Alameda that seem to rise to the surface with the help of the web, like the one he shared about the lunatic asylum located on the shore of the marsh across from Oakland.\u003c/p>\n\u003cp>“We do know from research that there is no such asylum,” Minor says.\u003c/p>\n\u003cp>Still, it’s strange that the little people urban legend about Tregloan Street persists when the houses themselves aren’t even all that small.\u003c/p>\n\u003cp>Yet the tenacity of the myth is what made it hard for KQED to track down any residents of the small homes on Tregloan Court, even after we put hand-delivered letters in mailboxes on headed notepaper. After hearing nothing for weeks, one resident sent us a long email asking if we’d consider dropping the story.\u003c/p>\n\u003cp>The resident, who did not want to be named for privacy reasons but ultimately gave permission to mention his email in this story, says he’s sick of being harassed by what he and his family call “Hobbit Hunters.”\u003c/p>\n\u003cp>“A couple of times, we have actually been sitting eating dinner when people will come right up in our yard to our dining room window and take pictures of us, and the inside of the house,” the resident writes in his email. “Sometimes, whole families will get out of their car just to take their picture on our doorstep.”\u003c/p>\n\u003cfigure id=\"attachment_11653570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11653570\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-800x600.jpg\" alt=\"Another adorable but definitely not undersized house on Tregloan Court.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another adorable but definitely not undersized house on Tregloan Court. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also says he’s 6-foot-3 — and the home he lives in suits him just fine.\u003c/p>\n\u003cp>“None of the houses are ‘two-thirds-sized’ homes,” he writes. “That would infer that doorways, countertops, etc. are built to a smaller scale, less than standard height. Some of the homes, including mine are smaller homes, yes, but are not scaled down, and there are many homes around different parts of Alameda that are very similar. I think you will find that really the only thing that differs is the street itself is smaller than almost all of the other streets.”\u003c/p>\n\u003cfigure id=\"attachment_11653573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11653573\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-800x600.jpg\" alt=\"And yet another lovely smallish Tregloan Court home.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">And yet another lovely smallish Tregloan Court home. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n",
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"excerpt": "A small street inadvertently becomes ground zero for so-called \"Hobbit Hunters,\" but is there truth in the legends?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During World War II, shipbuilding was big business along the West Coast. Hundreds of thousands of workers throughout the Bay Area held down jobs at places like the Alameda Works Shipyard.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This week’s question asker, Kim Kay, lives in Alameda — not far from that old shipyard.\u003c/p>\n\u003cp>A while back, she heard a story from a friend about a handful of small homes tucked away on a little street called Tregloan Court.\u003c/p>\n\u003cp>“I had heard that the houses on that street were built for small people during World War II for shipbuilding,” Kay says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rumor has it the shipyard employed little people — and these small houses were where they lived. Kay and her friend went to check them out.\u003c/p>\n\u003cp>“You know, when you first look at them you wouldn’t really notice that they were small,” Kay says. “But if you were to walk up to the front door, you would really realize that they are quite small.”\u003c/p>\n\u003cp>She was intrigued, though she had her doubts about the story.\u003c/p>\n\u003cp>“It seemed interesting,” she says. “But then my thought was, Kaiser was building ships in Richmond. Is there a street like this in Richmond? Are there small houses in San Francisco? I mean, if that’s true, there must be little houses up and down the coast of California.”\u003c/p>\n\u003cfigure id=\"attachment_11653547\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11653547\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/Facebook-screen-shot-800x768.png\" alt=\"Screenshot from a Facebook page discussion about the little houses on Tregloan Street.\" width=\"800\" height=\"768\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-800x768.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-160x154.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-1020x979.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-960x922.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-240x230.png 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-375x360.png 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-520x499.png 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Facebook-screen-shot.png 1054w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Screen shot from a Facebook page discussion about the little houses on Tregloan Street. \u003ccite>(Photo: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It turns out Kay and her friend aren’t the only people to have heard the rumor about the little people houses on Tregloan Court. There are mentions about it on Facebook, and quite a few Alameda locals nod in recognition when you ask them about it.\u003c/p>\n\u003cp>“It’s like if you walked into fairyland and you see a home that was designed small,” says Allen Tai, who works for the Alameda Planning Department.\u003c/p>\n\u003cp>The houses in question aren’t exactly miniature homes, though it’s possible that some people might see them that way because of the bucolic setting.\u003c/p>\n\u003cp>Tregloan Court is lined with fruit trees and babbling water fountains. The houses themselves are very cute. They’re made of wood and are smaller in scale than the grand Victorian homes that you also find on the street. They have period details and neat, well-groomed little yards.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003cdiv style=\"text-align: left\">\n\u003ch3>More Bay Area Myths\u003c/h3>\n\u003cfigure id=\"attachment_11678021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11678021\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31650_Black_squirrel-Grendelkhan-wikicommons-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grendelkhan/Wikicommons\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Myth:\u003c/strong> Palo Alto’s black squirrels are the result of a Stanford experiment gone wrong.\u003cbr>\n\u003cstrong>Busted:\u003c/strong> Those black squirrels are actually eastern gray squirrels whose parents both had a normal gene mutation for fur color. They’re basically the redheads of the squirrel world.\u003cbr>\n\u003cstrong>Question Asker:\u003c/strong> Eyal Cidon\u003c/p>\n\u003c/div>\n\u003c/aside>\n\u003cp>But while the “Middle Earth” quality to these buildings may explain why they’re associated with little people and the like, KQED’s research suggests there’s absolutely no validity to the story about the homes serving as dwellings for little shipyard workers during wartime.\u003c/p>\n\u003cp>Experts we spoke with included people in the Alameda Planning Department, neighbors and a number of local historians. They were unanimous in their debunking of the myth.\u003c/p>\n\u003cp>“I’ve never come across a shred of hard evidence supporting the story,” says Alameda historian Woody Minor.\u003c/p>\n\u003cp>“I don’t believe they were really built for little people,” says Barbara Stuber, who has lived in one of the larger Victorian homes on Tregloan Court since 1975. “I mean we don’t have little leprechauns living in our street, even though you have a little fairy door down there on the telephone pole.”\u003c/p>\n\u003cfigure id=\"attachment_11653560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11653560\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/IMG-7647-800x600.jpg\" alt=\"Tregloan Court resident Barbara Stuber has been living on the street since 1975.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG-7647-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tregloan Court resident Barbara Stuber has been living on the street since 1975. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Old building permit records at Alameda City Hall show the homes in question were built some years before the Second World War, in the mid-1930s. And while they’re modest in size, at around 1,000 square feet with two or three bedrooms, the homes are nothing near the scale of the tiny houses that are all the rage these days.\u003c/p>\n\u003cp>That being said, the lots are pretty small. City records show Tregloan Court originally had larger lots that were divided up to get more bang for the buck. Historian Minor puts this in the context of the real estate boom that started in the late 1800s.\u003c/p>\n\u003cfigure id=\"attachment_11653561\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11653561\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/IMG_7748-e1520039699868-800x600.jpg\" alt=\"Old city fire insurance records show how the lots on Tregloan Court used to look, prior to being divided up.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/IMG_7748-e1520039699868-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Old city fire insurance records show how the lots on Tregloan Court used to look, prior to being divided up. \u003ccite>(Photo: Courtesy Alameda Planning Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of the old historic Gold Rush-era farms in the east end of Alameda, which is where the town began, began to be subdivided and developed with housing at this time,” Minor says. “Tregloan Court represents sort of a cameo miniature example of this.”\u003c/p>\n\u003cp>The diminutive cottages on Tregloan Court aren’t even all that unique. There are the Stonehenge bungalows on Alameda’s Santa Clara Avenue, built around 1930. There’s also a series of small dwellings at Marion Court on Alameda’s west side. And there are similar developments in other parts of the Bay Area, too.\u003c/p>\n\u003cp>And no historian KQED spoke with had ever heard of shipyards in the area expressly employing little people as part of the workforce. (Though, of course, their employees probably came in all shapes and sizes.)\u003c/p>\n\u003caside class=\"alignleft\">\n\u003cdiv style=\"text-align: left\">\n\u003ch3>More Bay Area Myths\u003c/h3>\n\u003cfigure id=\"attachment_11678019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11678019\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-800x608.jpg\" alt=\"\" width=\"800\" height=\"608\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-800x608.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-160x122.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-1020x775.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-1200x912.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-1180x897.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-960x729.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-240x182.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-375x285.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut-520x395.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/06/RS31646_3090391989_ce1cf49434_o-qut.jpg 1824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">PhyreWorX/Flickr\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cdiv style=\"text-align: left\">\u003cstrong>Myth:\u003c/strong> It’s illegal to eat an orange in the bathtub in California.\u003cbr>\n\u003cstrong>Busted:\u003c/strong> The word “orange” appears in state law 372 times, but not once does it have anything to do with a bathtub.\u003cbr>\n\u003cstrong>Question Asker:\u003c/strong> Zachary Nemirovsky\u003c/div>\n\u003c/aside>\n\u003cp>No one really has a clue about how the myth got started and spread, though. It was most likely some combination of the houses being cute and on the smaller side, Alameda’s shipbuilding past, and the rumor-spreading power of the internet.\u003c/p>\n\u003cp>Minor says there are a bunch of weird myths relating to Alameda that seem to rise to the surface with the help of the web, like the one he shared about the lunatic asylum located on the shore of the marsh across from Oakland.\u003c/p>\n\u003cp>“We do know from research that there is no such asylum,” Minor says.\u003c/p>\n\u003cp>Still, it’s strange that the little people urban legend about Tregloan Street persists when the houses themselves aren’t even all that small.\u003c/p>\n\u003cp>Yet the tenacity of the myth is what made it hard for KQED to track down any residents of the small homes on Tregloan Court, even after we put hand-delivered letters in mailboxes on headed notepaper. After hearing nothing for weeks, one resident sent us a long email asking if we’d consider dropping the story.\u003c/p>\n\u003cp>The resident, who did not want to be named for privacy reasons but ultimately gave permission to mention his email in this story, says he’s sick of being harassed by what he and his family call “Hobbit Hunters.”\u003c/p>\n\u003cp>“A couple of times, we have actually been sitting eating dinner when people will come right up in our yard to our dining room window and take pictures of us, and the inside of the house,” the resident writes in his email. “Sometimes, whole families will get out of their car just to take their picture on our doorstep.”\u003c/p>\n\u003cfigure id=\"attachment_11653570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11653570\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-800x600.jpg\" alt=\"Another adorable but definitely not undersized house on Tregloan Court.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another adorable but definitely not undersized house on Tregloan Court. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also says he’s 6-foot-3 — and the home he lives in suits him just fine.\u003c/p>\n\u003cp>“None of the houses are ‘two-thirds-sized’ homes,” he writes. “That would infer that doorways, countertops, etc. are built to a smaller scale, less than standard height. Some of the homes, including mine are smaller homes, yes, but are not scaled down, and there are many homes around different parts of Alameda that are very similar. I think you will find that really the only thing that differs is the street itself is smaller than almost all of the other streets.”\u003c/p>\n\u003cfigure id=\"attachment_11653573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11653573\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-800x600.jpg\" alt=\"And yet another lovely smallish Tregloan Court home.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/03/Image-uploaded-from-iOS-9-1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">And yet another lovely smallish Tregloan Court home. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "photos-bbqing-while-black-comes-back-as-monthly-event-at-lake-merritt",
"title": "PHOTOS: 'BBQ’n While Black' Comes Back as Monthly Event at Lake Merritt",
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"headTitle": "PHOTOS: ‘BBQ’n While Black’ Comes Back as Monthly Event at Lake Merritt | KQED",
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"content": "\u003cp>A large group of people gathered at Lake Merritt in Oakland on Sunday for what organizers say will be a monthly event throughout the summer: “BBQ’n While Black.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">first “BBQ’n While Black” event\u003c/a> happened in May after an incident in which a white woman called the police on a black Oakland resident who was barbecuing at the lake.\u003c/p>\n\u003cp>While that first event was a kind of protest, organizers say the goal has evolved. Now, they want to remind people that Oakland’s identity is rooted strongly in black community and culture.\u003c/p>\n\u003cp>“People have been barbecuing at the lake since the beginning of the lake’s creation,” says organizer Logan Cortez, who was born and raised in Oakland. “So it’s just really a celebration of what we’ve always been doing.”\u003c/p>\n\u003cp>Throughout the cloudy afternoon, families grilled burgers and hot dogs; DJs played music; and local vendors sold clothes, food and artwork.\u003c/p>\n\u003cfigure id=\"attachment_11678578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678578 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/1-800x600.jpg\" alt=\"Imani Baylor runs a vintage clothing business called Eccentric Vibes. She says the event feels like a family reunion. 'It's magnetic. People are walking down the street and you hear, "Hey queen! What up, cousin! Hey, nephew!" It’s like we are all family here.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Imani Baylor runs a vintage clothing business called Eccentric Vibes. She says the event feels like a family reunion. ‘It’s magnetic. People are walking down the street and you hear, “Hey queen! What up, cousin! Hey, nephew!” It’s like we are all family here.’ \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11678579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678579 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/2-800x600.jpg\" alt=\"(L-R) Terrance Smith, Brandon Dawkins and Will Morrison grill some burgers at Lake Merritt on Sunday. Smith moved here from Louisiana 20 years ago. 'No matter where we’re from, we are all Oakland, and we’re not going anywhere, and there’s nothing they can do to change that.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Terrance Smith, Brandon Dawkins and Will Morrison grill some burgers at Lake Merritt on Sunday. Smith moved here from Louisiana 20 years ago. ‘No matter where we’re from, we are all Oakland, and we’re not going anywhere, and there’s nothing they can do to change that.’ \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11678580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678580 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/3-800x600.jpg\" alt=\"Sharon Myatt is 56 years old and moved to San Ramon from Oakland six years ago. She says she grew up skating around the lake. After leaving Oakland she says the incident in April has helped reunite black people at the lake. 'I’m from San Ramon, and you can see I came back ... This is where I was born.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Myatt is 56 years old and moved to San Ramon from Oakland six years ago. She says she grew up skating around the lake. After leaving Oakland she says the incident in April has helped reunite black people at the lake. ‘I’m from San Ramon, and you can see I came back … This is where I was born.’ \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11678581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678581 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/4-800x600.jpg\" alt=\"(L-R) Organizer Jhamel Morrison and DJ Gas Ken. Morrison: 'We didn't want to just make it about an issue, but you can just come and hang out and now people look forward to something. It's an opportunity for us to mingle.' He says people from all over the Bay Area came to the event on Sunday. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Organizer Jhamel Morrison and DJ Gas Ken. Morrison: ‘We didn’t want to just make it about an issue, but you can just come and hang out and now people look forward to something. It’s an opportunity for us to mingle.’ He says people from all over the Bay Area came to the event on Sunday. \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11678583\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678583 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/6-800x600.jpg\" alt=\"(L-R) Aljernon Olden and Martha Olden are both from Oakland and celebrated getting married last week. They came to the event for the 'good energy, good positive vibes and a lot of black people.' \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Aljernon Olden and Martha Olden are both from Oakland and celebrated getting married last week. They came to the event for the ‘good energy, good positive vibes and a lot of black people.’ \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11678584\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678584 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/7-800x600.jpg\" alt=\"Kumi Rauf is selling t-shirts with his business 'I Love Being Black' that he started in the '90s. 'We can’t complain about not enough positivity out there if we are not creating it ourselves.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kumi Rauf is selling t-shirts with his business ‘I Love Being Black’ that he started in the ’90s. ‘We can’t complain about not enough positivity out there if we are not creating it ourselves.’ \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11678585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678585 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/8-800x600.jpg\" alt=\"People gathered at Lake Merritt on Sunday to celebrate black community and culture.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People gathered at Lake Merritt on Sunday to celebrate black community and culture. \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Organizers say they had an overwhelmingly positive response to their first event at the lake in May.",
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"title": "PHOTOS: 'BBQ’n While Black' Comes Back as Monthly Event at Lake Merritt | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A large group of people gathered at Lake Merritt in Oakland on Sunday for what organizers say will be a monthly event throughout the summer: “BBQ’n While Black.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">first “BBQ’n While Black” event\u003c/a> happened in May after an incident in which a white woman called the police on a black Oakland resident who was barbecuing at the lake.\u003c/p>\n\u003cp>While that first event was a kind of protest, organizers say the goal has evolved. Now, they want to remind people that Oakland’s identity is rooted strongly in black community and culture.\u003c/p>\n\u003cp>“People have been barbecuing at the lake since the beginning of the lake’s creation,” says organizer Logan Cortez, who was born and raised in Oakland. “So it’s just really a celebration of what we’ve always been doing.”\u003c/p>\n\u003cp>Throughout the cloudy afternoon, families grilled burgers and hot dogs; DJs played music; and local vendors sold clothes, food and artwork.\u003c/p>\n\u003cfigure id=\"attachment_11678578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678578 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/1-800x600.jpg\" alt=\"Imani Baylor runs a vintage clothing business called Eccentric Vibes. She says the event feels like a family reunion. 'It's magnetic. People are walking down the street and you hear, "Hey queen! What up, cousin! Hey, nephew!" It’s like we are all family here.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Imani Baylor runs a vintage clothing business called Eccentric Vibes. She says the event feels like a family reunion. ‘It’s magnetic. People are walking down the street and you hear, “Hey queen! What up, cousin! Hey, nephew!” It’s like we are all family here.’ \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11678579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678579 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/2-800x600.jpg\" alt=\"(L-R) Terrance Smith, Brandon Dawkins and Will Morrison grill some burgers at Lake Merritt on Sunday. Smith moved here from Louisiana 20 years ago. 'No matter where we’re from, we are all Oakland, and we’re not going anywhere, and there’s nothing they can do to change that.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Terrance Smith, Brandon Dawkins and Will Morrison grill some burgers at Lake Merritt on Sunday. Smith moved here from Louisiana 20 years ago. ‘No matter where we’re from, we are all Oakland, and we’re not going anywhere, and there’s nothing they can do to change that.’ \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11678580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678580 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/3-800x600.jpg\" alt=\"Sharon Myatt is 56 years old and moved to San Ramon from Oakland six years ago. She says she grew up skating around the lake. After leaving Oakland she says the incident in April has helped reunite black people at the lake. 'I’m from San Ramon, and you can see I came back ... This is where I was born.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/3-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Myatt is 56 years old and moved to San Ramon from Oakland six years ago. She says she grew up skating around the lake. After leaving Oakland she says the incident in April has helped reunite black people at the lake. ‘I’m from San Ramon, and you can see I came back … This is where I was born.’ \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11678581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678581 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/4-800x600.jpg\" alt=\"(L-R) Organizer Jhamel Morrison and DJ Gas Ken. Morrison: 'We didn't want to just make it about an issue, but you can just come and hang out and now people look forward to something. It's an opportunity for us to mingle.' He says people from all over the Bay Area came to the event on Sunday. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/4-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Organizer Jhamel Morrison and DJ Gas Ken. Morrison: ‘We didn’t want to just make it about an issue, but you can just come and hang out and now people look forward to something. It’s an opportunity for us to mingle.’ He says people from all over the Bay Area came to the event on Sunday. \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11678583\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678583 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/6-800x600.jpg\" alt=\"(L-R) Aljernon Olden and Martha Olden are both from Oakland and celebrated getting married last week. They came to the event for the 'good energy, good positive vibes and a lot of black people.' \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/6-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Aljernon Olden and Martha Olden are both from Oakland and celebrated getting married last week. They came to the event for the ‘good energy, good positive vibes and a lot of black people.’ \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11678584\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678584 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/7-800x600.jpg\" alt=\"Kumi Rauf is selling t-shirts with his business 'I Love Being Black' that he started in the '90s. 'We can’t complain about not enough positivity out there if we are not creating it ourselves.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/7-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kumi Rauf is selling t-shirts with his business ‘I Love Being Black’ that he started in the ’90s. ‘We can’t complain about not enough positivity out there if we are not creating it ourselves.’ \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11678585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11678585 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/8-800x600.jpg\" alt=\"People gathered at Lake Merritt on Sunday to celebrate black community and culture.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/8-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People gathered at Lake Merritt on Sunday to celebrate black community and culture. \u003ccite>(Muna Danish/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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