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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>\u003ca href=\"https://www.kqed.org/news/11670826/11670826-autosave-v1\">Illegal Love: A Ugandan Refugee’s California Dream\u003c/a>\u003c/h2>\n\u003cp>It was early in the morning, when Eddris Sseguya got caught kissing another man. He was living in his native Uganda, where being gay is against the law. It’s one of more than 70 countries that still criminalize homosexuality. People who are found guilty are put in jail. Unless the neighbors come up with their own punishment first. Reporter Karina Saidi brings us this story of Eddris's journey from Uganda to California, in search of safety. Karina’s story is part of a collaboration with the USC Annenberg School for Communication and Journalism. Working with us here on the California Report Magazine, students spent a semester examining what the California Dream means to people across Los Angeles.\u003c/p>\n\u003ch2>San Francisco’s Long-Running Zen Hospice Project To Close\u003c/h2>\n\u003cp>During the height of the AIDS crisis in the 1980s, nurses were afraid to touch patients. Men dying of AIDS were left languishing alone in the hallways of county hospitals. It was during this time that the Zen Hospice Project was founded in San Francisco. Buddhist practitioners bought an old Victorian in the Haight Ashbury neighborhood, where AIDS patients could die with dignity and compassionate care. Then it evolved to care for people with all kinds of terminal illnesses. Now, after 30 years, the house is closing its doors. April Dembosky has more.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11685814/blindspotting-actor-considers-damaging-effects-of-white-voice\">‘Blindspotting’ Actor Considers Damaging Effects of ‘White Voice’\u003c/a>\u003c/h2>\n\u003cp>This summer, we’re hearing a lot about “white voice.” Take the movie “BlacKkKlansman” out this week. It’s about a black cop who pretends to be white to infiltrate the Ku Klux Klan. KQED’s Chloe Veltman brings us the story of one California actor who knows what it’s like to have to disguise your true voice to assimilate into a white dominated culture, both on and off the stage and screen.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11684676/a-lost-boy-of-sudan-looks-back-at-how-civil-war-tore-him-from-his-mother\">A ‘Lost Boy of Sudan’ Looks Back at How Civil War Tore Him From His Mother\u003c/a>\u003c/h2>\n\u003cp>For most of his childhood, David Ayual Mayom barely saw his father. It was Sudan in the 1980s and his dad was fighting with a rebel group against the government during the Second Civil War. David lived with his mother, and when he was 8 years old, he had to make a painful choice: stay at home with her, and almost surely be killed. Or, set out on foot with thousands of other young boys to escape the government army. In the last of our series about the long-term impacts of childhood separation, KQED’s Laura Klivans tells us how David left his small village and eventually landed in San Jose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The San Francisco Board of Supervisors voted unanimously Tuesday to allow a measure on the November ballot that would restore funding from the city’s \u003ca href=\"http://sfcontroller.org/sites/default/files/FileCenter/Documents/242-06_Hotel_Room_Tax_October_2013.pdf\" target=\"_blank\" rel=\"noopener\">hotel room tax\u003c/a> for arts and culture activities in the city.\u003c/p>\n\u003cp>In a press release, supporters of the measure said the “Hotel Tax Allocations Initiative Ordinance” would “reconnect funding for arts and culture in San Francisco to a portion of the city’s Hotel Tax and its projected growth without raising taxes or taking away from other city services.”\u003c/p>\n\u003cp>The hotel tax is a 14 percent tax levied on hotel stays. The tax was originally created in 1961 to support the city’s arts industries, and the construction and operation of convention facilities. In the early 2000s, the city amended the allocations for the arts as part of the annual budget process, reducing funding gradually and ultimately repealing specific allocations altogether.\u003c/p>\n\u003cp>“Unfortunately, the link between this hotel tax revenue and arts funding was broken,” said Supervisor Katy Tang. “We are trying to restore the historic link between our hotel tax revenues that are dedicated to arts funding.”\u003c/p>\n\u003cp>The new measure, if passed in November, would restore 1.5 percent of the \u003cem>base\u003c/em> hotel tax (that’s 8% of the total 14% hotel tax) exclusively for arts funding. The remaining 12.5 percent goes into the general fund.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new measure comes in the wake of failed Proposition S in 2016. That measure brought arts and homeless organizations together in a joint bid to secure monies from the hotel tax to benefit cultural organizations and families living on the streets. It also aimed to do so without raising taxes. But the measure didn’t pass.\u003c/p>\n\u003cp>Supervisor Aaron Peskin said he generally doesn’t approve of set-asides from the general fund. He was not a fan of Proposition S. But Peskin views this new measure differently, because it aims to restore the historical commitment of the city toward supporting the arts while maintaining a larger chunk of the coffers for the general fund than would have been possible under Proposition S.\u003c/p>\n\u003cp>“It’s been a delight in the defeat of Proposition S that we could all come together and do something that did not impact the general fund to the same degree,” Peskin said.\u003c/p>\n\u003cp>Dozens of arts organizations are supporting the proposed measure.\u003c/p>\n\u003cp>“It is important to protect and restore funding for nonprofit cultural institutions, community cultural centers, neighborhood arts and cultural districts,” said Rachel Lastimosa, arts and culture administrator of the city’s Filipino cultural district, \u003ca href=\"http://www.somapilipinas.org/\" target=\"_blank\" rel=\"noopener\">SOMA Pilipinas\u003c/a>. “The housing crisis and the affordability challenges that we face here in San Francisco mean that we are losing the lifeblood of cultural bearers and artists that make San Francisco the community we love.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The measure would need to be approved by at least two-thirds of San Francisco voters to pass on Nov. 6.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Supervisors voted unanimously Tuesday to allow a measure on the November ballot that would restore funding from the city’s \u003ca href=\"http://sfcontroller.org/sites/default/files/FileCenter/Documents/242-06_Hotel_Room_Tax_October_2013.pdf\" target=\"_blank\" rel=\"noopener\">hotel room tax\u003c/a> for arts and culture activities in the city.\u003c/p>\n\u003cp>In a press release, supporters of the measure said the “Hotel Tax Allocations Initiative Ordinance” would “reconnect funding for arts and culture in San Francisco to a portion of the city’s Hotel Tax and its projected growth without raising taxes or taking away from other city services.”\u003c/p>\n\u003cp>The hotel tax is a 14 percent tax levied on hotel stays. The tax was originally created in 1961 to support the city’s arts industries, and the construction and operation of convention facilities. In the early 2000s, the city amended the allocations for the arts as part of the annual budget process, reducing funding gradually and ultimately repealing specific allocations altogether.\u003c/p>\n\u003cp>“Unfortunately, the link between this hotel tax revenue and arts funding was broken,” said Supervisor Katy Tang. “We are trying to restore the historic link between our hotel tax revenues that are dedicated to arts funding.”\u003c/p>\n\u003cp>The new measure, if passed in November, would restore 1.5 percent of the \u003cem>base\u003c/em> hotel tax (that’s 8% of the total 14% hotel tax) exclusively for arts funding. The remaining 12.5 percent goes into the general fund.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The new measure comes in the wake of failed Proposition S in 2016. That measure brought arts and homeless organizations together in a joint bid to secure monies from the hotel tax to benefit cultural organizations and families living on the streets. It also aimed to do so without raising taxes. But the measure didn’t pass.\u003c/p>\n\u003cp>Supervisor Aaron Peskin said he generally doesn’t approve of set-asides from the general fund. He was not a fan of Proposition S. But Peskin views this new measure differently, because it aims to restore the historical commitment of the city toward supporting the arts while maintaining a larger chunk of the coffers for the general fund than would have been possible under Proposition S.\u003c/p>\n\u003cp>“It’s been a delight in the defeat of Proposition S that we could all come together and do something that did not impact the general fund to the same degree,” Peskin said.\u003c/p>\n\u003cp>Dozens of arts organizations are supporting the proposed measure.\u003c/p>\n\u003cp>“It is important to protect and restore funding for nonprofit cultural institutions, community cultural centers, neighborhood arts and cultural districts,” said Rachel Lastimosa, arts and culture administrator of the city’s Filipino cultural district, \u003ca href=\"http://www.somapilipinas.org/\" target=\"_blank\" rel=\"noopener\">SOMA Pilipinas\u003c/a>. “The housing crisis and the affordability challenges that we face here in San Francisco mean that we are losing the lifeblood of cultural bearers and artists that make San Francisco the community we love.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The measure would need to be approved by at least two-thirds of San Francisco voters to pass on Nov. 6.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Actresses Rewrite the Script to Fight Asian-American Stereotypes",
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"content": "\u003cp>Hollywood has been making progress in showcasing diversity, but it’s a slow process for Asian Americans. Angie Kim and Ami Park are two actresses trying to change that.\u003c/p>\n\u003cp>Kim and Park get together a lot since they first met at an audition. They try to support each other as they struggle to deal with the limited roles reserved for Asian American actors.\u003c/p>\n\u003cfigure id=\"attachment_11671000\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-11671000\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/MV5BZWRhOWRkODktZGE0Yy00N2E3LWI5NDQtZDQxODBlOGVkY2EyL2ltYWdlXkEyXkFqcGdeQXVyNzAxODA4Njc@._V1_.jpg\" alt=\"\" width=\"720\" height=\"576\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/MV5BZWRhOWRkODktZGE0Yy00N2E3LWI5NDQtZDQxODBlOGVkY2EyL2ltYWdlXkEyXkFqcGdeQXVyNzAxODA4Njc@._V1_.jpg 720w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/MV5BZWRhOWRkODktZGE0Yy00N2E3LWI5NDQtZDQxODBlOGVkY2EyL2ltYWdlXkEyXkFqcGdeQXVyNzAxODA4Njc@._V1_-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/MV5BZWRhOWRkODktZGE0Yy00N2E3LWI5NDQtZDQxODBlOGVkY2EyL2ltYWdlXkEyXkFqcGdeQXVyNzAxODA4Njc@._V1_-240x192.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/MV5BZWRhOWRkODktZGE0Yy00N2E3LWI5NDQtZDQxODBlOGVkY2EyL2ltYWdlXkEyXkFqcGdeQXVyNzAxODA4Njc@._V1_-375x300.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/MV5BZWRhOWRkODktZGE0Yy00N2E3LWI5NDQtZDQxODBlOGVkY2EyL2ltYWdlXkEyXkFqcGdeQXVyNzAxODA4Njc@._V1_-520x416.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ami Park moved to California after getting her degree in theater from Boston. \u003ccite>(Sam Khan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Park is a Korean American from New Jersey with a background in theater. She moved to California to pursue her career as an actress, but it wasn’t so easy.\u003c/p>\n\u003cp>\"I would get auditions that I need to be a stereotypical Asian person with an accent or something and it would just play solely on the stereotype,\" she said.\u003c/p>\n\u003cp>So she turns down any roles that require a fake Asian accent, saying it would feel inauthentic. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"As someone who is Asian American, born in the States, I actually don’t know how to do an 'Asian' accent,\" Park said.\u003c/p>\n\u003cfigure id=\"attachment_11670992\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11670992\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/Angie-Kim-headshot-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-520x780.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angie Kim was a paralegal, but she decided to give it all up. She moved to Los Angeles from San Diego to follow her dreams to become an actor. \u003ccite>(Joanna DeGeneres)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kim is also Korean American, born and raised in California. She worked as a paralegal until she realized she had a passion for acting. But she too couldn’t avoid typecast roles, like the sexy temptress or the villain. For a TV show called \"Cry Wolfe\" Kim played a mistress, wearing black lingerie and a pink silk robe.\u003c/p>\n\u003cp>She says she gets offered those roles \"because I’m Asian and they think I’m 'exotic.'\"\u003c/p>\n\u003cp>But the competition for acting roles is so tough, it's hard to turn down these offers.\u003c/p>\n\u003cp>\"The auditions we get are so few and in between that if there is one, we all just kind swarm towards it and… you know, we all want it so bad, even if it’s for just one line,\" she said.\u003c/p>\n\u003cp>Kim and Park would vent to each other about being frustrated with the stereotypes and the way Asian American women are portrayed in media.\u003c/p>\n\u003cp>So they decided to do something about it.\u003c/p>\n\u003cp>Park and Kim have started creating their own roles. They’re making short skits on social media to encourage Asian Americans to embrace their identities, like this piece on Instagram called \"Surround yourself with those who are crazy about you.\"\u003c/p>\n\u003cp>https://www.instagram.com/p/BSuwJ5igwEs/?taken-by=inbusinessandlife\u003c/p>\n\u003cp>These skits have inspired Park to take things further. She's co-producing a series called \"\u003ca href=\"https://www.instagram.com/ladypartseries/?hl=en\" target=\"_blank\" rel=\"noopener\">Lady Parts.\"\u003c/a> which follows five Asian American women in Los Angeles.\u003c/p>\n\u003cp>https://www.instagram.com/p/BcjOMhugMtI/?hl=en&taken-by=ami_park\u003c/p>\n\u003cp>Park says the series is \"pretty much 'Master of None' meets 'Girls' meets 'Big Little Lies,' but with five female Asian Americans.\"\u003c/p>\n\u003cp>\"There’s a Korean American, a Vietnamese American, a Filipino American, an Indian American, and a half-Japanese, half-Irish American,\" she continues. \"You don’t see that kind of portrayal of diverse Asian Americans, diversity within diversity... on media at all. So we truly feel as though this is groundbreaking.\"\u003c/p>\n\u003cp>And she hopes that Hollywood is listening.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced in collaboration with an advanced reporting class at the USC Annenberg School for Communication and Journalism. Students spent a semester examining what the California Dream means to Angelenos from different walks of life.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood has been making progress in showcasing diversity, but it’s a slow process for Asian Americans. Angie Kim and Ami Park are two actresses trying to change that.\u003c/p>\n\u003cp>Kim and Park get together a lot since they first met at an audition. They try to support each other as they struggle to deal with the limited roles reserved for Asian American actors.\u003c/p>\n\u003cfigure id=\"attachment_11671000\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-11671000\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/MV5BZWRhOWRkODktZGE0Yy00N2E3LWI5NDQtZDQxODBlOGVkY2EyL2ltYWdlXkEyXkFqcGdeQXVyNzAxODA4Njc@._V1_.jpg\" alt=\"\" width=\"720\" height=\"576\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/MV5BZWRhOWRkODktZGE0Yy00N2E3LWI5NDQtZDQxODBlOGVkY2EyL2ltYWdlXkEyXkFqcGdeQXVyNzAxODA4Njc@._V1_.jpg 720w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/MV5BZWRhOWRkODktZGE0Yy00N2E3LWI5NDQtZDQxODBlOGVkY2EyL2ltYWdlXkEyXkFqcGdeQXVyNzAxODA4Njc@._V1_-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/MV5BZWRhOWRkODktZGE0Yy00N2E3LWI5NDQtZDQxODBlOGVkY2EyL2ltYWdlXkEyXkFqcGdeQXVyNzAxODA4Njc@._V1_-240x192.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/MV5BZWRhOWRkODktZGE0Yy00N2E3LWI5NDQtZDQxODBlOGVkY2EyL2ltYWdlXkEyXkFqcGdeQXVyNzAxODA4Njc@._V1_-375x300.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/MV5BZWRhOWRkODktZGE0Yy00N2E3LWI5NDQtZDQxODBlOGVkY2EyL2ltYWdlXkEyXkFqcGdeQXVyNzAxODA4Njc@._V1_-520x416.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ami Park moved to California after getting her degree in theater from Boston. \u003ccite>(Sam Khan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Park is a Korean American from New Jersey with a background in theater. She moved to California to pursue her career as an actress, but it wasn’t so easy.\u003c/p>\n\u003cp>\"I would get auditions that I need to be a stereotypical Asian person with an accent or something and it would just play solely on the stereotype,\" she said.\u003c/p>\n\u003cp>So she turns down any roles that require a fake Asian accent, saying it would feel inauthentic. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"As someone who is Asian American, born in the States, I actually don’t know how to do an 'Asian' accent,\" Park said.\u003c/p>\n\u003cfigure id=\"attachment_11670992\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11670992\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/Angie-Kim-headshot-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot-520x780.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/Angie-Kim-headshot.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angie Kim was a paralegal, but she decided to give it all up. She moved to Los Angeles from San Diego to follow her dreams to become an actor. \u003ccite>(Joanna DeGeneres)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kim is also Korean American, born and raised in California. She worked as a paralegal until she realized she had a passion for acting. But she too couldn’t avoid typecast roles, like the sexy temptress or the villain. For a TV show called \"Cry Wolfe\" Kim played a mistress, wearing black lingerie and a pink silk robe.\u003c/p>\n\u003cp>She says she gets offered those roles \"because I’m Asian and they think I’m 'exotic.'\"\u003c/p>\n\u003cp>But the competition for acting roles is so tough, it's hard to turn down these offers.\u003c/p>\n\u003cp>\"The auditions we get are so few and in between that if there is one, we all just kind swarm towards it and… you know, we all want it so bad, even if it’s for just one line,\" she said.\u003c/p>\n\u003cp>Kim and Park would vent to each other about being frustrated with the stereotypes and the way Asian American women are portrayed in media.\u003c/p>\n\u003cp>So they decided to do something about it.\u003c/p>\n\u003cp>Park and Kim have started creating their own roles. They’re making short skits on social media to encourage Asian Americans to embrace their identities, like this piece on Instagram called \"Surround yourself with those who are crazy about you.\"\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These skits have inspired Park to take things further. She's co-producing a series called \"\u003ca href=\"https://www.instagram.com/ladypartseries/?hl=en\" target=\"_blank\" rel=\"noopener\">Lady Parts.\"\u003c/a> which follows five Asian American women in Los Angeles.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Park says the series is \"pretty much 'Master of None' meets 'Girls' meets 'Big Little Lies,' but with five female Asian Americans.\"\u003c/p>\n\u003cp>\"There’s a Korean American, a Vietnamese American, a Filipino American, an Indian American, and a half-Japanese, half-Irish American,\" she continues. \"You don’t see that kind of portrayal of diverse Asian Americans, diversity within diversity... on media at all. So we truly feel as though this is groundbreaking.\"\u003c/p>\n\u003cp>And she hopes that Hollywood is listening.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced in collaboration with an advanced reporting class at the USC Annenberg School for Communication and Journalism. Students spent a semester examining what the California Dream means to Angelenos from different walks of life.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Push Past Your Comfort Zone With This Year's Silicon Valley Beer Week",
"title": "Push Past Your Comfort Zone With This Year's Silicon Valley Beer Week",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Many beer drinkers are stubbornly loyal to one brew, or maybe a short list of seasonal favorites. But if you’re in a spirit to try something new, check out this year’s \u003ca href=\"http://www.svbeerweek.com\" target=\"_blank\" rel=\"noopener\">Silicon Valley Beer Week\u003c/a>, which wraps up Sunday.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>The region and the concept are generously defined to include food pairings, seminars, brewmaster dinners, and tap takeovers at a wide range of venues in Santa Clara, San Mateo and Alameda Counties.\u003c/p>\n\u003cp>Nick Veronin is the managing editor of \u003ca href=\"http://www.metrosiliconvalley.com\" target=\"_blank\" rel=\"noopener\">Metro Silicon Valley\u003c/a>, the force behind beer week. “I like talking to brewers and learning about the beer,” he says. \"I’ve come to appreciate over the years just how complex this process [of brewing] is.\"\u003c/p>\n\u003cp>The least you can do as a consumer is stretch your taste buds to try some of what those brewers are experimenting with. Here's a short list of ideas:\u003c/p>\n\u003ch2>Hazy\u003c/h2>\n\u003cfigure id=\"attachment_11683235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11683235 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-800x800.jpg\" alt=\"IPAs with the appearance of unfiltered fruit juice are all the rage during what some call now the "haze craze." This one is Mountain Voice from San Diego-based Modern Times. KQED's Chloe Hinkson says "It was very tropical and smooth. I don't have much of a beer vocabulary, but I liked it."\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">IPAs with the appearance of unfiltered fruit juice are all the rage during what some call now the \"haze craze.\" This one is Mountain Voice from San Diego-based Modern Times. KQED's Chloe Hinkson says \"It was very tropical and smooth. I don't have much of a beer vocabulary, but I liked it.\" \u003ccite>(Chloe Hinkson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sour\u003c/h2>\n\u003cfigure id=\"attachment_11683403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11683403 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-800x1000.jpg\" alt=\"Sour beer has an intentionally acidic, tart or sour taste. Common sour beer styles include: lambics, gueuze and Flanders red ale. Barrel Project Hibiscus Chamomile from Cali Craft Brewing Company in Walnut Creek.\" width=\"800\" height=\"1000\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-800x1000.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-160x200.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-1020x1275.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-960x1200.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-240x300.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-375x469.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-520x650.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sour beer has an intentionally acidic, tart or sour taste. Common sour beer styles include: lambics, gueuze and Flanders red ale. Barrel Project Hibiscus Chamomile from Cali Craft Brewing Company in Walnut Creek. \u003ccite>(Photo: Courtesy of Calicraft Brewing Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>Sweet\u003c/strong>\u003c/h2>\n\u003cfigure id=\"attachment_11683224\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11683224 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/MacNut_BottleGlass-800x1201.jpg\" alt=\"Are there regional preferences within the Bay Area that Six Rivers Brewing co-owner Meredith Maier can identify? Actually, yes. She says, "We're selling a ton of Macadamia Nut Porter," in the South Bay, whereas beer drinkers in the Santa Cruz area prefer the more traditional Sasquatch Double IPA.\" width=\"800\" height=\"1201\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-1020x1531.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-1920x2881.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-1180x1771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-960x1441.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-520x780.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Are there regional preferences within the Bay Area that Six Rivers Brewing co-owner Meredith Maier can identify? Actually, yes. She says, \"We're selling a ton of Macadamia Nut Porter,\" in the South Bay, whereas beer drinkers in the Santa Cruz area prefer the more traditional Sasquatch Double IPA.\u003c/figcaption>\u003c/figure>\n\u003ch2>Glitter\u003c/h2>\n\u003cfigure id=\"attachment_11683404\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg class=\"wp-image-11683404 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n.jpg\" alt=\"This is not, as I initially thought, a bunch of edible glitter bits sprinkled into beer. Instead, it looks a lot like shampoo, or a liquid bowling ball. The shine comes from a food-grade additive made from sugar, maltodextrin and mica-based pearlescent pigment.\" width=\"720\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n.jpg 720w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-150x150.jpg 150w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">This is not, as I initially thought, a bunch of edible glitter bits sprinkled into beer. Instead, it looks a lot like shampoo, or a liquid bowling ball. The shine comes from a food-grade additive made from sugar, maltodextrin and mica-based pearlescent pigment. \u003ccite>(Photo: Courtesy of Two Birds Brewing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Not Really A Beer But Worth A Mention\u003c/h2>\n\u003cfigure id=\"attachment_11683205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11683205\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-800x473.jpg\" alt=\"California's own Lagunitas Brewing Company has collaborated with CannaCraft's AbsoluteXtracts to produce a hopped, THC-infused sparkling water, available in a handful of dispensaries beginning July 30, 2018.\" width=\"800\" height=\"473\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-800x473.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-160x95.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-1020x602.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-1200x709.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-1180x697.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-960x567.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-240x142.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-375x221.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-520x307.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California's own Lagunitas Brewing Company has collaborated with CannaCraft's AbsoluteXtracts to produce a hopped, THC-infused sparkling water, available in a handful of dispensaries beginning July 30, 2018. \u003ccite>(Photo: Courtesy of Lagunitas Brewing Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Sweet, sour and murky: maybe you think you know what you like in a beer and there’s no upside to taking a risk. But where’s the fun in that? ",
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"description": "Sweet, sour and murky: maybe you think you know what you like in a beer and there’s no upside to taking a risk. But where’s the fun in that? ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many beer drinkers are stubbornly loyal to one brew, or maybe a short list of seasonal favorites. But if you’re in a spirit to try something new, check out this year’s \u003ca href=\"http://www.svbeerweek.com\" target=\"_blank\" rel=\"noopener\">Silicon Valley Beer Week\u003c/a>, which wraps up Sunday.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>The region and the concept are generously defined to include food pairings, seminars, brewmaster dinners, and tap takeovers at a wide range of venues in Santa Clara, San Mateo and Alameda Counties.\u003c/p>\n\u003cp>Nick Veronin is the managing editor of \u003ca href=\"http://www.metrosiliconvalley.com\" target=\"_blank\" rel=\"noopener\">Metro Silicon Valley\u003c/a>, the force behind beer week. “I like talking to brewers and learning about the beer,” he says. \"I’ve come to appreciate over the years just how complex this process [of brewing] is.\"\u003c/p>\n\u003cp>The least you can do as a consumer is stretch your taste buds to try some of what those brewers are experimenting with. Here's a short list of ideas:\u003c/p>\n\u003ch2>Hazy\u003c/h2>\n\u003cfigure id=\"attachment_11683235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11683235 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-800x800.jpg\" alt=\"IPAs with the appearance of unfiltered fruit juice are all the rage during what some call now the "haze craze." This one is Mountain Voice from San Diego-based Modern Times. KQED's Chloe Hinkson says "It was very tropical and smooth. I don't have much of a beer vocabulary, but I liked it."\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32065_IMG_6408-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">IPAs with the appearance of unfiltered fruit juice are all the rage during what some call now the \"haze craze.\" This one is Mountain Voice from San Diego-based Modern Times. KQED's Chloe Hinkson says \"It was very tropical and smooth. I don't have much of a beer vocabulary, but I liked it.\" \u003ccite>(Chloe Hinkson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sour\u003c/h2>\n\u003cfigure id=\"attachment_11683403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11683403 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-800x1000.jpg\" alt=\"Sour beer has an intentionally acidic, tart or sour taste. Common sour beer styles include: lambics, gueuze and Flanders red ale. Barrel Project Hibiscus Chamomile from Cali Craft Brewing Company in Walnut Creek.\" width=\"800\" height=\"1000\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-800x1000.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-160x200.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-1020x1275.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-960x1200.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-240x300.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-375x469.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n-520x650.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/23594179_163510124388906_6706125282723495936_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sour beer has an intentionally acidic, tart or sour taste. Common sour beer styles include: lambics, gueuze and Flanders red ale. Barrel Project Hibiscus Chamomile from Cali Craft Brewing Company in Walnut Creek. \u003ccite>(Photo: Courtesy of Calicraft Brewing Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>Sweet\u003c/strong>\u003c/h2>\n\u003cfigure id=\"attachment_11683224\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11683224 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/MacNut_BottleGlass-800x1201.jpg\" alt=\"Are there regional preferences within the Bay Area that Six Rivers Brewing co-owner Meredith Maier can identify? Actually, yes. She says, "We're selling a ton of Macadamia Nut Porter," in the South Bay, whereas beer drinkers in the Santa Cruz area prefer the more traditional Sasquatch Double IPA.\" width=\"800\" height=\"1201\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-1020x1531.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-1920x2881.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-1180x1771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-960x1441.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass-520x780.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/MacNut_BottleGlass.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Are there regional preferences within the Bay Area that Six Rivers Brewing co-owner Meredith Maier can identify? Actually, yes. She says, \"We're selling a ton of Macadamia Nut Porter,\" in the South Bay, whereas beer drinkers in the Santa Cruz area prefer the more traditional Sasquatch Double IPA.\u003c/figcaption>\u003c/figure>\n\u003ch2>Glitter\u003c/h2>\n\u003cfigure id=\"attachment_11683404\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg class=\"wp-image-11683404 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n.jpg\" alt=\"This is not, as I initially thought, a bunch of edible glitter bits sprinkled into beer. Instead, it looks a lot like shampoo, or a liquid bowling ball. The shine comes from a food-grade additive made from sugar, maltodextrin and mica-based pearlescent pigment.\" width=\"720\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n.jpg 720w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/26870795_548656998838486_8762244316228747264_n-150x150.jpg 150w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">This is not, as I initially thought, a bunch of edible glitter bits sprinkled into beer. Instead, it looks a lot like shampoo, or a liquid bowling ball. The shine comes from a food-grade additive made from sugar, maltodextrin and mica-based pearlescent pigment. \u003ccite>(Photo: Courtesy of Two Birds Brewing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Not Really A Beer But Worth A Mention\u003c/h2>\n\u003cfigure id=\"attachment_11683205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11683205\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-800x473.jpg\" alt=\"California's own Lagunitas Brewing Company has collaborated with CannaCraft's AbsoluteXtracts to produce a hopped, THC-infused sparkling water, available in a handful of dispensaries beginning July 30, 2018.\" width=\"800\" height=\"473\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-800x473.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-160x95.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-1020x602.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-1200x709.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-1180x697.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-960x567.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-240x142.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-375x221.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/07/RS32062_Screen-Shot-2018-07-27-at-1.19.08-PM-qut-520x307.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California's own Lagunitas Brewing Company has collaborated with CannaCraft's AbsoluteXtracts to produce a hopped, THC-infused sparkling water, available in a handful of dispensaries beginning July 30, 2018. \u003ccite>(Photo: Courtesy of Lagunitas Brewing Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Sorry to Bother You', 'BlacKkKlansman' Heighten 'White Voice' Consciousness",
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"content": "\u003cp>This summer, we’re hearing a lot about “white voice.”\u003c/p>\n\u003cp>Take the movie ”\u003ca href=\"http://sorrytobotheryou.movie/\" target=\"_blank\" rel=\"noopener\">Sorry to Bother You\u003c/a>,” in which a young black call center worker in Oakland is coached to put on an affected, WASPy accent to reel in customers.\u003c/p>\n\u003cp>This film is one of several new releases by black filmmakers, bringing larger awareness to the fact that white privilege is more than skin-deep.\u003c/p>\n\u003cp>In “Sorry to Bother You,” director Boots Riley dubs in white actor David Cross’ high-pitched, nasal voice during the scenes where the movie’s black protagonist, played by Lakeith Stanfield, deftly wins over customers on the phone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XthLQZWIshQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Riley says he was very careful about casting that voice. “I think if you did an internet poll over what actor people think has the whitest voice, \u003ca href=\"https://en.wikipedia.org/wiki/David_Cross\" target=\"_blank\" rel=\"noopener\">David Cross\u003c/a> would probably be at the top,” Riley says.\u003c/p>\n\u003cp>The result is hilarious. It’s also disarming, because the filmmaker is superimposing that whitest of white voices on a black character to make a serious point about a system that forces people of color to code-switch so they can assimilate in a white-dominated culture. And that, Riley says, is messed up.\u003c/p>\n\u003cp>“Whiteness is a thing that is performed, that is not inherited, and so is blackness,” Riley says. “Race is a performance. It’s one that, you know, we don’t necessarily have a choice in.”\u003c/p>\n\u003cp>This comes across in Spike Lee’s upcoming movie \u003ca href=\"http://www.focusfeatures.com/blackkklansman\">“BlacKkKlansman,”\u003c/a> where a black cop (played by John David Washington) has to suppress who he is and pretend to be white to infiltrate the Ku Klux Klan.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pFc6I0rgmgY\u003c/p>\n\u003cp>The subject of white voice is not new, especially in the world of standup comedy. Richard Pryor was a master at it.\u003c/p>\n\u003cp>But now, with the emergence of black filmmakers like Jordan Peele and Daveed Diggs, satire around ideas that have existed in the black community for hundreds of years, like white voice, are belatedly emerging onto the big screen.\u003c/p>\n\u003cp>It’s a powerful way to bring attention to white privilege, says associate director of Stanford’s \u003ca href=\"https://diversityarts.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Institute for Diversity in the Arts\u003c/a>, A-lan Holt.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VOEupm3btOs\u003c/p>\n\u003cp>“Your skin color you can’t change,” Holt says. “But your voice, you can manipulate to subvert systems that subjugate our existence, like the workplace and the classroom. How can we use them to our advantage? And how can we play the game and not have the game kind of play us?”\u003c/p>\n\u003cp>One person who knows a thing or two about playing the game is \u003ca href=\"http://www.margohall.com/\" target=\"_blank\" rel=\"noopener\">Margo Hall\u003c/a>.\u003c/p>\n\u003cp>“Sometimes you do it to get what you need,” says the veteran Bay Area actor, director and playwright. Hall has dozens of stage and screen credits to her name, including Diggs’ “\u003ca href=\"https://tickets.blindspotting.movie/\" target=\"_blank\" rel=\"noopener\">Blindspotting\u003c/a>,” another new, racially charged, Oakland-centric movie.\u003c/p>\n\u003cp>Hall says if you create the illusion that you speak like a white person, people pay attention. “And they feel like, ‘OK, now I can listen to you because you’re not ignorant, you’re not uneducated,’ ” she says. “And sometimes you can trick them into believing that you’re white.”\u003c/p>\n\u003cfigure id=\"attachment_11681784\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11681784\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/margo-hall-800x600.jpg\" alt=\"Actress, director and playwright Margo Hall at her home in Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actress, director and playwright Margo Hall at her home in Oakland. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the time Hall auditioned for drama school.\u003c/p>\n\u003cp>She performed a monologue from “for colored girls who have considered suicide / when the rainbow is enuf,” a classic black feminist theater piece from 1974 by \u003ca href=\"http://officialntozakeshange.com/about/home/\" target=\"_blank\" rel=\"noopener\">Ntozake Shange\u003c/a>. “It’s this really black monologue,” Hall says, and she pulled out all the emotional and ethnic stops for the audition tape she made.\u003c/p>\n\u003cp>Hall failed her audition. But she got a second shot.\u003c/p>\n\u003cp>“I did Emily from ‘Our Town,’ ” Hall says, referring to the famous 1938 \u003ca href=\"http://www.thorntonwilder.com/about-wilder/biography/\" target=\"_blank\" rel=\"noopener\">Thornton Wilder\u003c/a> play about small-town America. And she says she gave it a suitably demure, buttoned-up, white-girl read.\u003c/p>\n\u003cp>White play. White voice. Guess what?\u003c/p>\n\u003cp>“I got into the school,” Hall says. “And you know, we knew what we were doing. It wasn’t like, ‘Oh, I guess I have to kowtow.’ It was like, ‘I’m getting into school, and then I’m gonna raise hell.'”\u003c/p>\n\u003cp>Hall says she doesn’t do the white voice anymore. And she says she feels validated by the new generation of black filmmakers gaining traction in Hollywood. “I think all of those voices, they’re all going to just tear stuff up,” Hall says. “I’m really excited about that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But not every black American can or wants to use a “white voice.” Maybe, Hall believes, by broaching the subject in film, eventually black people won’t have to.\u003c/p>\n\n",
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"excerpt": "The film is one of several new releases by African-American filmmakers bringing larger awareness to the fact that white privilege is more than skin-deep.",
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"title": "'Sorry to Bother You', 'BlacKkKlansman' Heighten 'White Voice' Consciousness | KQED",
"description": "The film is one of several new releases by African-American filmmakers bringing larger awareness to the fact that white privilege is more than skin-deep.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This summer, we’re hearing a lot about “white voice.”\u003c/p>\n\u003cp>Take the movie ”\u003ca href=\"http://sorrytobotheryou.movie/\" target=\"_blank\" rel=\"noopener\">Sorry to Bother You\u003c/a>,” in which a young black call center worker in Oakland is coached to put on an affected, WASPy accent to reel in customers.\u003c/p>\n\u003cp>This film is one of several new releases by black filmmakers, bringing larger awareness to the fact that white privilege is more than skin-deep.\u003c/p>\n\u003cp>In “Sorry to Bother You,” director Boots Riley dubs in white actor David Cross’ high-pitched, nasal voice during the scenes where the movie’s black protagonist, played by Lakeith Stanfield, deftly wins over customers on the phone.\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/XthLQZWIshQ'\n title='//www.youtube.com/embed/XthLQZWIshQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Riley says he was very careful about casting that voice. “I think if you did an internet poll over what actor people think has the whitest voice, \u003ca href=\"https://en.wikipedia.org/wiki/David_Cross\" target=\"_blank\" rel=\"noopener\">David Cross\u003c/a> would probably be at the top,” Riley says.\u003c/p>\n\u003cp>The result is hilarious. It’s also disarming, because the filmmaker is superimposing that whitest of white voices on a black character to make a serious point about a system that forces people of color to code-switch so they can assimilate in a white-dominated culture. And that, Riley says, is messed up.\u003c/p>\n\u003cp>“Whiteness is a thing that is performed, that is not inherited, and so is blackness,” Riley says. “Race is a performance. It’s one that, you know, we don’t necessarily have a choice in.”\u003c/p>\n\u003cp>This comes across in Spike Lee’s upcoming movie \u003ca href=\"http://www.focusfeatures.com/blackkklansman\">“BlacKkKlansman,”\u003c/a> where a black cop (played by John David Washington) has to suppress who he is and pretend to be white to infiltrate the Ku Klux Klan.\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/pFc6I0rgmgY'\n title='//www.youtube.com/embed/pFc6I0rgmgY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The subject of white voice is not new, especially in the world of standup comedy. Richard Pryor was a master at it.\u003c/p>\n\u003cp>But now, with the emergence of black filmmakers like Jordan Peele and Daveed Diggs, satire around ideas that have existed in the black community for hundreds of years, like white voice, are belatedly emerging onto the big screen.\u003c/p>\n\u003cp>It’s a powerful way to bring attention to white privilege, says associate director of Stanford’s \u003ca href=\"https://diversityarts.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Institute for Diversity in the Arts\u003c/a>, A-lan Holt.\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/VOEupm3btOs'\n title='//www.youtube.com/embed/VOEupm3btOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Your skin color you can’t change,” Holt says. “But your voice, you can manipulate to subvert systems that subjugate our existence, like the workplace and the classroom. How can we use them to our advantage? And how can we play the game and not have the game kind of play us?”\u003c/p>\n\u003cp>One person who knows a thing or two about playing the game is \u003ca href=\"http://www.margohall.com/\" target=\"_blank\" rel=\"noopener\">Margo Hall\u003c/a>.\u003c/p>\n\u003cp>“Sometimes you do it to get what you need,” says the veteran Bay Area actor, director and playwright. Hall has dozens of stage and screen credits to her name, including Diggs’ “\u003ca href=\"https://tickets.blindspotting.movie/\" target=\"_blank\" rel=\"noopener\">Blindspotting\u003c/a>,” another new, racially charged, Oakland-centric movie.\u003c/p>\n\u003cp>Hall says if you create the illusion that you speak like a white person, people pay attention. “And they feel like, ‘OK, now I can listen to you because you’re not ignorant, you’re not uneducated,’ ” she says. “And sometimes you can trick them into believing that you’re white.”\u003c/p>\n\u003cfigure id=\"attachment_11681784\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11681784\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/margo-hall-800x600.jpg\" alt=\"Actress, director and playwright Margo Hall at her home in Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/margo-hall-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actress, director and playwright Margo Hall at her home in Oakland. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the time Hall auditioned for drama school.\u003c/p>\n\u003cp>She performed a monologue from “for colored girls who have considered suicide / when the rainbow is enuf,” a classic black feminist theater piece from 1974 by \u003ca href=\"http://officialntozakeshange.com/about/home/\" target=\"_blank\" rel=\"noopener\">Ntozake Shange\u003c/a>. “It’s this really black monologue,” Hall says, and she pulled out all the emotional and ethnic stops for the audition tape she made.\u003c/p>\n\u003cp>Hall failed her audition. But she got a second shot.\u003c/p>\n\u003cp>“I did Emily from ‘Our Town,’ ” Hall says, referring to the famous 1938 \u003ca href=\"http://www.thorntonwilder.com/about-wilder/biography/\" target=\"_blank\" rel=\"noopener\">Thornton Wilder\u003c/a> play about small-town America. And she says she gave it a suitably demure, buttoned-up, white-girl read.\u003c/p>\n\u003cp>White play. White voice. Guess what?\u003c/p>\n\u003cp>“I got into the school,” Hall says. “And you know, we knew what we were doing. It wasn’t like, ‘Oh, I guess I have to kowtow.’ It was like, ‘I’m getting into school, and then I’m gonna raise hell.'”\u003c/p>\n\u003cp>Hall says she doesn’t do the white voice anymore. And she says she feels validated by the new generation of black filmmakers gaining traction in Hollywood. “I think all of those voices, they’re all going to just tear stuff up,” Hall says. “I’m really excited about that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But not every black American can or wants to use a “white voice.” Maybe, Hall believes, by broaching the subject in film, eventually black people won’t have to.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-costumes-celebrities-and-more-from-san-diego-comic-con",
"title": "PHOTOS: Costumes, Celebrities and More From San Diego Comic-Con",
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"headTitle": "PHOTOS: Costumes, Celebrities and More From San Diego Comic-Con | KQED",
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"content": "\u003cp>It’s that time of year again, when fans flock to San Diego for Comic-Con International (or just SDCC for most people). Spanning media far beyond comics, the convention is a place for movies and tv shows to tease fans with new trailers and panels. \u003c/p>\n\u003cp>More than 100,000 were expected to converge on the convention, which ran from July 19 through 22. Teaser images and clips were seen at the panels for “Wonder Woman 1984,” “Fantastic Beasts” and more, while shows like “Doctor Who” and “Riverdale” also gave fans much to look forward to in coming seasons. \u003c/p>\n\u003cp>At this con, fans aren’t just attendees, they’re part of the entertainment. From group costumes that take months of coordination, to custom-made ones that require some engineering skills, the pop-culture inspired outfits are a sight to behold. \u003c/p>\n\u003cp>Here are some of the highlights from this year’s con.\u003c/p>\n\u003cfigure id=\"attachment_11681937\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002925486-1020x680.jpg\" alt=\" Cosplayers dressed as Ellie and Carl from the film 'Up' outside San Diego Comic-Con.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11681937\">\u003cfigcaption class=\"wp-caption-text\">Cosplayers dressed as Ellie and Carl from the film ‘Up’ outside San Diego Comic-Con. \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681938\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002827660-1020x661.jpg\" alt=\"Cosplayers pose while dressed as the White Queen and Queen of Hearts outside Comic-Con on July 20, 2018 at the San Diego Convention Center.\" width=\"640\" height=\"415\" class=\"size-large wp-image-11681938\">\u003cfigcaption class=\"wp-caption-text\">Cosplayers strike a pose while dressed as the White Queen and Queen of Hearts outside Comic-Con on July 20, 2018 at the San Diego Convention Center. \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681934\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002266824-1020x680.jpg\" alt=\"A boy smiles after posing with a cosplayer dressed as Black Panther outside San Diego Comic-Con on July 19, 2018 in San Diego, California.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11681934\">\u003cfigcaption class=\"wp-caption-text\">A boy smiles after posing with a cosplayer dressed as Black Panther. Wakanda forever! \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681936\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-1020x680.jpg\" alt=\"A dog is dressed as Captain America outside outside Comic-Con on July 20, 2018 at the San Diego Convention Center in San Diego.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11681936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">It’s not just for humans! A dog is dressed as Captain America outside Comic-Con in San Diego. \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681942\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1003104564-1020x649.jpg\" alt=\"(L-R) Director Patty Jenkins, and actors Chris Pine and Gal Gadot participate in the Warner Bros. Theatrical Panel for 'Wonder 1984' during Comic Con in San Diego.\" width=\"640\" height=\"407\" class=\"size-large wp-image-11681942\">\u003cfigcaption class=\"wp-caption-text\">Talk about wonderful: (L-R) Director Patty Jenkins, and actors Chris Pine and Gal Gadot participate in the Warner Bros. Theatrical Panel for ‘Wonder 1984’ during Comic Con in San Diego. \u003ccite>(CHRIS DELMAS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681944\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-1020x809.jpg\" alt=\"Jodie Whittaker poses with lego figure at BBC America's 'Doctor Who' at Comic-Con International 2018 at San Diego Convention Center.\" width=\"640\" height=\"508\" class=\"size-large wp-image-11681944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-1200x951.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-1920x1522.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-1180x936.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-960x761.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-520x412.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jodie Whittaker poses with lego figure at BBC America’s ‘Doctor Who’ at Comic-Con International 2018 at San Diego Convention Center. She will be the first actress to take on the iconic role. \u003ccite>( Joe Scarnici/Getty Images for BBC America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681945\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002827352-1020x704.jpg\" alt=\"Guests attend the Bob's Burgers x Shake Shack Pop Up during Comic-Con International 2018.\" width=\"640\" height=\"442\" class=\"size-large wp-image-11681945\">\u003cfigcaption class=\"wp-caption-text\">Fans could also attend brand experiences, like this Bob’s Burgers x Shake Shack Pop Up. This group costume was on theme. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681946\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002925256-1020x680.jpg\" alt=\"A cosplayer poses while adjusting his mask dressed as Nacho Libre outside San Diego Comic-Con.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11681946\">\u003cfigcaption class=\"wp-caption-text\">A cosplayer dressed as Nacho Libre poses while adjusting his mask outside San Diego Comic-Con. \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681947\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002960246-1020x680.jpg\" alt=\"Cosplayers pose at San Diego Comic-Con International 2018 on July 20, 2018 in San Diego.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11681947\">\u003cfigcaption class=\"wp-caption-text\">Cosplayers from a galaxy not-so far away pose in their Star Wars costumes at San Diego Comic-Con International 2018. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681948\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1003435668-1020x714.jpg\" alt=\"Jason Momoa participates in the Warner Bros. Theatrical Panel for 'Aquaman' during Comic Con in San Diego.\" width=\"640\" height=\"448\" class=\"size-large wp-image-11681948\">\u003cfigcaption class=\"wp-caption-text\">Jason Momoa participates in the Warner Bros. Theatrical Panel for ‘Aquaman’ during Comic Con in San Diego. \u003ccite>(CHRIS DELMAS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681951\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-1020x680.jpg\" alt=\"The sidewalks around the San Diego Convention Center were crowded with attendees, some in costume and some not. \" width=\"640\" height=\"427\" class=\"size-large wp-image-11681951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The sidewalks around the San Diego Convention Center were crowded with attendees, some in costume and some not. \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681939\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-1020x641.jpg\" alt=\"E-scooters from Lime and Bird sit outside San Diego Comic-Con on July 20, 2018 in San Diego.\" width=\"640\" height=\"402\" class=\"size-large wp-image-11681939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-1020x641.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-1200x754.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-1920x1206.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-960x603.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-520x327.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">E-scooters from Lime and Bird sit outside San Diego Comic-Con on July 20, 2018 in San Diego. \u003ccite>( Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Didn't get a ticket to SDCC this year? Here are some photo highlights from the big event. ",
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"title": "PHOTOS: Costumes, Celebrities and More From San Diego Comic-Con | KQED",
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"headline": "PHOTOS: Costumes, Celebrities and More From San Diego Comic-Con",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time of year again, when fans flock to San Diego for Comic-Con International (or just SDCC for most people). Spanning media far beyond comics, the convention is a place for movies and tv shows to tease fans with new trailers and panels. \u003c/p>\n\u003cp>More than 100,000 were expected to converge on the convention, which ran from July 19 through 22. Teaser images and clips were seen at the panels for “Wonder Woman 1984,” “Fantastic Beasts” and more, while shows like “Doctor Who” and “Riverdale” also gave fans much to look forward to in coming seasons. \u003c/p>\n\u003cp>At this con, fans aren’t just attendees, they’re part of the entertainment. From group costumes that take months of coordination, to custom-made ones that require some engineering skills, the pop-culture inspired outfits are a sight to behold. \u003c/p>\n\u003cp>Here are some of the highlights from this year’s con.\u003c/p>\n\u003cfigure id=\"attachment_11681937\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002925486-1020x680.jpg\" alt=\" Cosplayers dressed as Ellie and Carl from the film 'Up' outside San Diego Comic-Con.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11681937\">\u003cfigcaption class=\"wp-caption-text\">Cosplayers dressed as Ellie and Carl from the film ‘Up’ outside San Diego Comic-Con. \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681938\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002827660-1020x661.jpg\" alt=\"Cosplayers pose while dressed as the White Queen and Queen of Hearts outside Comic-Con on July 20, 2018 at the San Diego Convention Center.\" width=\"640\" height=\"415\" class=\"size-large wp-image-11681938\">\u003cfigcaption class=\"wp-caption-text\">Cosplayers strike a pose while dressed as the White Queen and Queen of Hearts outside Comic-Con on July 20, 2018 at the San Diego Convention Center. \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681934\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002266824-1020x680.jpg\" alt=\"A boy smiles after posing with a cosplayer dressed as Black Panther outside San Diego Comic-Con on July 19, 2018 in San Diego, California.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11681934\">\u003cfigcaption class=\"wp-caption-text\">A boy smiles after posing with a cosplayer dressed as Black Panther. Wakanda forever! \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681936\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-1020x680.jpg\" alt=\"A dog is dressed as Captain America outside outside Comic-Con on July 20, 2018 at the San Diego Convention Center in San Diego.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11681936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002831278-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">It’s not just for humans! A dog is dressed as Captain America outside Comic-Con in San Diego. \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681942\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1003104564-1020x649.jpg\" alt=\"(L-R) Director Patty Jenkins, and actors Chris Pine and Gal Gadot participate in the Warner Bros. Theatrical Panel for 'Wonder 1984' during Comic Con in San Diego.\" width=\"640\" height=\"407\" class=\"size-large wp-image-11681942\">\u003cfigcaption class=\"wp-caption-text\">Talk about wonderful: (L-R) Director Patty Jenkins, and actors Chris Pine and Gal Gadot participate in the Warner Bros. Theatrical Panel for ‘Wonder 1984’ during Comic Con in San Diego. \u003ccite>(CHRIS DELMAS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681944\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-1020x809.jpg\" alt=\"Jodie Whittaker poses with lego figure at BBC America's 'Doctor Who' at Comic-Con International 2018 at San Diego Convention Center.\" width=\"640\" height=\"508\" class=\"size-large wp-image-11681944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-1200x951.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-1920x1522.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-1180x936.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-960x761.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1001938148-520x412.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jodie Whittaker poses with lego figure at BBC America’s ‘Doctor Who’ at Comic-Con International 2018 at San Diego Convention Center. She will be the first actress to take on the iconic role. \u003ccite>( Joe Scarnici/Getty Images for BBC America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681945\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002827352-1020x704.jpg\" alt=\"Guests attend the Bob's Burgers x Shake Shack Pop Up during Comic-Con International 2018.\" width=\"640\" height=\"442\" class=\"size-large wp-image-11681945\">\u003cfigcaption class=\"wp-caption-text\">Fans could also attend brand experiences, like this Bob’s Burgers x Shake Shack Pop Up. This group costume was on theme. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681946\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002925256-1020x680.jpg\" alt=\"A cosplayer poses while adjusting his mask dressed as Nacho Libre outside San Diego Comic-Con.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11681946\">\u003cfigcaption class=\"wp-caption-text\">A cosplayer dressed as Nacho Libre poses while adjusting his mask outside San Diego Comic-Con. \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681947\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002960246-1020x680.jpg\" alt=\"Cosplayers pose at San Diego Comic-Con International 2018 on July 20, 2018 in San Diego.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11681947\">\u003cfigcaption class=\"wp-caption-text\">Cosplayers from a galaxy not-so far away pose in their Star Wars costumes at San Diego Comic-Con International 2018. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681948\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1003435668-1020x714.jpg\" alt=\"Jason Momoa participates in the Warner Bros. Theatrical Panel for 'Aquaman' during Comic Con in San Diego.\" width=\"640\" height=\"448\" class=\"size-large wp-image-11681948\">\u003cfigcaption class=\"wp-caption-text\">Jason Momoa participates in the Warner Bros. Theatrical Panel for ‘Aquaman’ during Comic Con in San Diego. \u003ccite>(CHRIS DELMAS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681951\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-1020x680.jpg\" alt=\"The sidewalks around the San Diego Convention Center were crowded with attendees, some in costume and some not. \" width=\"640\" height=\"427\" class=\"size-large wp-image-11681951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002826560-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The sidewalks around the San Diego Convention Center were crowded with attendees, some in costume and some not. \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11681939\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-1020x641.jpg\" alt=\"E-scooters from Lime and Bird sit outside San Diego Comic-Con on July 20, 2018 in San Diego.\" width=\"640\" height=\"402\" class=\"size-large wp-image-11681939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-1020x641.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-1200x754.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-1920x1206.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-960x603.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/07/GettyImages-1002931014-520x327.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">E-scooters from Lime and Bird sit outside San Diego Comic-Con on July 20, 2018 in San Diego. \u003ccite>( Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Why It Took 20 Years for 'Into the Badlands' Actor Daniel Wu to Make It Here",
"title": "Why It Took 20 Years for 'Into the Badlands' Actor Daniel Wu to Make It Here",
"headTitle": "The California Report | KQED News",
"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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"headline": "Why It Took 20 Years for 'Into the Badlands' Actor Daniel Wu to Make It Here",
"datePublished": "2018-07-21T12:30:34-07:00",
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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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"disqusTitle": "Two Bay Area Private Colleges to Close, Hundreds of Job Losses",
"title": "Two Bay Area Private Colleges to Close, Hundreds of Job Losses",
"headTitle": "The California Report | KQED News",
"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",
"title": "Native American Tribes Clash With UC Over Bones of Their Ancestors",
"headTitle": "The California Report | KQED News",
"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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"description": "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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"slug": "photos-fiestas-fridas-celebrates-all-things-frida-kahlo",
"title": "PHOTOS: Fiestas Fridas Celebrates All Things Frida Kahlo",
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"headTitle": "PHOTOS: Fiestas Fridas Celebrates All Things Frida Kahlo | KQED",
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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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"excerpt": "Fiestas Fridas is back, and for the first time it's moving beyond San Francisco.",
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"title": "PHOTOS: Fiestas Fridas Celebrates All Things Frida Kahlo | KQED",
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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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"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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