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"content": "\u003cp>More indictments, more Olympics, more news.\u003c/p>\n\u003cp>What else you got?\u003c/p>\n\u003ch3>1. \u003ca href=\"https://ww2.kqed.org/news/2018/02/21/the-human-cost-of-uber-and-lyft-life-in-the-dying-taxi-industry/\" target=\"_blank\" rel=\"noopener\">The human cost of Uber and Lyft\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11651107\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Office-e1519254145353.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11651107\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Office-e1519088025430-800x600.jpg\" alt=\"The office for Green Cab, which has been downsized from 19 to six members.\" width=\"800\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The office for Green Cab, which has been downsized from 19 to six members. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I took a taxi last summer for the first time in a long time. I was visiting Washington D.C., and I’d forgotten that there was this whole industry full of people who know their cities like the back of their hands and don’t need an app or GPS to get us where we need to go.\u003c/p>\n\u003cp>But in the age of Uber and Lyft, that knowledge doesn’t pay much. KQED’s Sam Harnett \u003ca href=\"https://ww2.kqed.org/news/2018/02/21/the-human-cost-of-uber-and-lyft-life-in-the-dying-taxi-industry/\" target=\"_blank\" rel=\"noopener\">talked with cabbies\u003c/a> in San Francisco who are really struggling. They say retirement is a pipe dream, some of them are on welfare, and there’s no end in sight.\u003c/p>\n\u003ch3>2. \u003ca href=\"https://ww2.kqed.org/news/2018/02/23/sacramento-finds-and-celebrates-itself-in-new-lady-bird-walking-tour/\" target=\"_blank\" rel=\"noopener\">Sacramento loves ‘Lady Bird’ … a lot\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11651905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Group1-e1519429543760.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11651905\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Group1-800x533.jpg\" alt='The \"Lady Bird\" walking tour group poses in front of the stately blue home from the film.' width=\"800\" height=\"533\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The “Lady Bird” walking tour group poses in front of the stately blue home from the film. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same way that ‘Black Panther’ made me well up with \u003ca href=\"https://ww2.kqed.org/news/2018/02/17/if-you-hella-love-oakland-youll-hella-love-black-panther/\" target=\"_blank\" rel=\"noopener\">pride for Oakland\u003c/a> even though I’ve never lived there, ‘Lady Bird’ had me smitten with Sacramento.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And Sacramento is definitely smitten with ‘Lady Bird.’ You can even take a \u003ca href=\"https://ww2.kqed.org/news/2018/02/23/sacramento-finds-and-celebrates-itself-in-new-lady-bird-walking-tour/\" target=\"_blank\" rel=\"noopener\">‘Lady Bird’ walking tour\u003c/a> through the city, hitting all the classic spots from the film and some from director and Sacramento native Greta Gerwig’s life.\u003c/p>\n\u003cp>The quote that really showed me how much this movie could mean to our state capital was from 67-year-old Quincy Brown, Sacramento born and bred: “I think we’re a good cow town. I’m OK with that. But I think this is a great town, and I think even a great city, that hasn’t gotten the credit it deserves. This movie gave us the hug that we needed.”\u003c/p>\n\u003ch3>3. \u003ca href=\"https://ww2.kqed.org/news/2018/02/23/librarians-on-the-line-evaluating-childrens-books-about-police/\" target=\"_blank\" rel=\"noopener\">Rethinking how police are portrayed in kids books\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11650919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650919\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-800x600.jpg\" alt=\"Children’s librarian Mahasin Abuwi Aleem reads to children at story time at Oakland's main library.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Children’s librarian Mahasin Abuwi Aleem reads to children at story time at Oakland’s main library. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How were the police portrayed in the books you read as a kid? The good guys? Friendly and trustworthy? Unfortunately, the reality isn’t that simple, especially for communities of color that have seen so many of their friends and family members killed by police.\u003c/p>\n\u003cp>Librarians in Oakland have \u003ca href=\"https://ww2.kqed.org/news/2018/02/23/librarians-on-the-line-evaluating-childrens-books-about-police/\" target=\"_blank\" rel=\"noopener\">created a toolkit\u003c/a> to help other librarians and educators examine how books portray police and the law.\u003c/p>\n\u003cblockquote>\u003cp>The toolkit doesn’t review specific books. Instead, it provides questions, like: Does this book explain children’s rights to have a parent or other adult present during questioning? Does it imply that children will always be safe if they follow officers’ instructions? Does the book make a distinction between prison and jail?\u003c/p>\u003c/blockquote>\n\u003ch3>4. \u003ca href=\"https://ww2.kqed.org/science/2018/02/22/californias-recurring-nightmare-nearly-half-the-state-is-back-in-drought/\" target=\"_blank\" rel=\"noopener\">Long time, no rain: Drought is on its way back\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11651551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/ww2.kqed_.orgusdm_20180220_CA_text-5153c6ad7b72c6ae0e2d308d154db69b5d83879c.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11651551\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/ww2.kqed_.orgusdm_20180220_CA_text-5153c6ad7b72c6ae0e2d308d154db69b5d83879c-800x618.jpg\" alt=\"Click image to enlarge. \" width=\"800\" height=\"618\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Click image to enlarge.\u003c/figcaption>\u003c/figure>\n\u003cp>Any time my boyfriend takes a long shower or leaves the water tap running, I jokingly yell at him, “We’re in a drought!” He always shoots back that we technically aren’t in a drought anymore.\u003c/p>\n\u003cp>Looks like I’m going to be right pretty soon.\u003c/p>\n\u003cp>According to the U.S. Drought Monitor, almost \u003ca href=\"https://ww2.kqed.org/science/2018/02/22/californias-recurring-nightmare-nearly-half-the-state-is-back-in-drought/\" target=\"_blank\" rel=\"noopener\">half the state is experiencing at least a “moderate drought.”\u003c/a> More than 91 percent of the state, including the Bay Area, is at least “abnormally dry,” the stepping stone to drought.\u003c/p>\n\u003ch3>5. \u003ca href=\"https://ww2.kqed.org/news/2018/02/20/high-court-refusal-to-hear-california-gun-case-provokes-bitter-dissent-from-clarence-thomas/\" target=\"_blank\" rel=\"noopener\">This Supreme Court justice does not like these California gun laws\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11651146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/GettyImages-691161322-e1519156239708.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11651146\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/GettyImages-691161322-800x583.jpg\" alt=\"\" width=\"800\" height=\"583\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Supreme Court Associate Justice Clarence Thomas during official portrait session in June 2017. \u003ccite>(Saul Loeb/AFP-Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The U.S. Supreme Court did something it does all the time this week: it chose not to review a case. The case was a challenge to a California law requiring a 10-day waiting period on gun purchases, even if the buyer had already cleared a previous background check.\u003c/p>\n\u003cp>This did not sit well with Justice Clarence Thomas. He wrote a scathing \u003ca href=\"https://assets.documentcloud.org/documents/4383125/Silvester-v-Becerra.pdf\" target=\"_blank\" rel=\"noopener\">14-page dissent\u003c/a> railing against the decision, saying the court doesn’t respect the Second Amendment as much as other civil liberties.\u003c/p>\n\u003cp>Here’s a taste of Thomas’ displeasure, directed at the 9th U.S. Circuit Court of Appeals, the federal appeals court that covers California:\u003c/p>\n\u003cblockquote>\u003cp>The Ninth Circuit struck down a county’s 5-day waiting period for nude-dancing licenses because it “unreasonably prevent[ed] a dancer from exercising first amendment rights while an application [was] pending.” The Ninth Circuit found it dispositive there, but not here, that the county “failed to demonstrate a need for [the] five-day delay period.” In another case, the Ninth Circuit held that laws embracing traditional marriage failed heightened scrutiny because the states presented “no evidence” other than “speculation and conclusory assertions” to support them. While those laws reflected the wisdom of “thousands of years of human history in every society known to have populated the planet,” they faced a much tougher time in the Ninth Circuit than California’s new and unusual waiting period for firearms. In the Ninth Circuit, it seems, rights that have no basis in the Constitution receive greater protection than the Second Amendment, which is enumerated in the text.\u003c/p>\u003c/blockquote>\n\u003ch1>\u003ca href=\"https://ww2.kqed.org/forum/2018/02/15/national-park-services-betty-reid-soskin-publishes-memoir-at-96/\" target=\"_blank\" rel=\"noopener\">Before you go…\u003c/a>\u003c/h1>\n\u003cp>Betty Reid Soskin is a \u003ca href=\"https://ww2.kqed.org/forum/2018/02/15/national-park-services-betty-reid-soskin-publishes-memoir-at-96/\" target=\"_blank\" rel=\"noopener\">96-year-old full-time national park ranger\u003c/a>. Need I say more?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=re-EjNHty64\u003c/p>\n\n",
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"excerpt": "How cab drivers are dealing with the death of their industry, 'Lady Bird' love in Sacramento, a return to drought and more stories you might've missed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More indictments, more Olympics, more news.\u003c/p>\n\u003cp>What else you got?\u003c/p>\n\u003ch3>1. \u003ca href=\"https://ww2.kqed.org/news/2018/02/21/the-human-cost-of-uber-and-lyft-life-in-the-dying-taxi-industry/\" target=\"_blank\" rel=\"noopener\">The human cost of Uber and Lyft\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11651107\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Office-e1519254145353.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11651107\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Office-e1519088025430-800x600.jpg\" alt=\"The office for Green Cab, which has been downsized from 19 to six members.\" width=\"800\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The office for Green Cab, which has been downsized from 19 to six members. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I took a taxi last summer for the first time in a long time. I was visiting Washington D.C., and I’d forgotten that there was this whole industry full of people who know their cities like the back of their hands and don’t need an app or GPS to get us where we need to go.\u003c/p>\n\u003cp>But in the age of Uber and Lyft, that knowledge doesn’t pay much. KQED’s Sam Harnett \u003ca href=\"https://ww2.kqed.org/news/2018/02/21/the-human-cost-of-uber-and-lyft-life-in-the-dying-taxi-industry/\" target=\"_blank\" rel=\"noopener\">talked with cabbies\u003c/a> in San Francisco who are really struggling. They say retirement is a pipe dream, some of them are on welfare, and there’s no end in sight.\u003c/p>\n\u003ch3>2. \u003ca href=\"https://ww2.kqed.org/news/2018/02/23/sacramento-finds-and-celebrates-itself-in-new-lady-bird-walking-tour/\" target=\"_blank\" rel=\"noopener\">Sacramento loves ‘Lady Bird’ … a lot\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11651905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Group1-e1519429543760.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11651905\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Group1-800x533.jpg\" alt='The \"Lady Bird\" walking tour group poses in front of the stately blue home from the film.' width=\"800\" height=\"533\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The “Lady Bird” walking tour group poses in front of the stately blue home from the film. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same way that ‘Black Panther’ made me well up with \u003ca href=\"https://ww2.kqed.org/news/2018/02/17/if-you-hella-love-oakland-youll-hella-love-black-panther/\" target=\"_blank\" rel=\"noopener\">pride for Oakland\u003c/a> even though I’ve never lived there, ‘Lady Bird’ had me smitten with Sacramento.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And Sacramento is definitely smitten with ‘Lady Bird.’ You can even take a \u003ca href=\"https://ww2.kqed.org/news/2018/02/23/sacramento-finds-and-celebrates-itself-in-new-lady-bird-walking-tour/\" target=\"_blank\" rel=\"noopener\">‘Lady Bird’ walking tour\u003c/a> through the city, hitting all the classic spots from the film and some from director and Sacramento native Greta Gerwig’s life.\u003c/p>\n\u003cp>The quote that really showed me how much this movie could mean to our state capital was from 67-year-old Quincy Brown, Sacramento born and bred: “I think we’re a good cow town. I’m OK with that. But I think this is a great town, and I think even a great city, that hasn’t gotten the credit it deserves. This movie gave us the hug that we needed.”\u003c/p>\n\u003ch3>3. \u003ca href=\"https://ww2.kqed.org/news/2018/02/23/librarians-on-the-line-evaluating-childrens-books-about-police/\" target=\"_blank\" rel=\"noopener\">Rethinking how police are portrayed in kids books\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11650919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650919\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-800x600.jpg\" alt=\"Children’s librarian Mahasin Abuwi Aleem reads to children at story time at Oakland's main library.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Aleem-reads-to-group-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Children’s librarian Mahasin Abuwi Aleem reads to children at story time at Oakland’s main library. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How were the police portrayed in the books you read as a kid? The good guys? Friendly and trustworthy? Unfortunately, the reality isn’t that simple, especially for communities of color that have seen so many of their friends and family members killed by police.\u003c/p>\n\u003cp>Librarians in Oakland have \u003ca href=\"https://ww2.kqed.org/news/2018/02/23/librarians-on-the-line-evaluating-childrens-books-about-police/\" target=\"_blank\" rel=\"noopener\">created a toolkit\u003c/a> to help other librarians and educators examine how books portray police and the law.\u003c/p>\n\u003cblockquote>\u003cp>The toolkit doesn’t review specific books. Instead, it provides questions, like: Does this book explain children’s rights to have a parent or other adult present during questioning? Does it imply that children will always be safe if they follow officers’ instructions? Does the book make a distinction between prison and jail?\u003c/p>\u003c/blockquote>\n\u003ch3>4. \u003ca href=\"https://ww2.kqed.org/science/2018/02/22/californias-recurring-nightmare-nearly-half-the-state-is-back-in-drought/\" target=\"_blank\" rel=\"noopener\">Long time, no rain: Drought is on its way back\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11651551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/ww2.kqed_.orgusdm_20180220_CA_text-5153c6ad7b72c6ae0e2d308d154db69b5d83879c.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11651551\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/ww2.kqed_.orgusdm_20180220_CA_text-5153c6ad7b72c6ae0e2d308d154db69b5d83879c-800x618.jpg\" alt=\"Click image to enlarge. \" width=\"800\" height=\"618\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Click image to enlarge.\u003c/figcaption>\u003c/figure>\n\u003cp>Any time my boyfriend takes a long shower or leaves the water tap running, I jokingly yell at him, “We’re in a drought!” He always shoots back that we technically aren’t in a drought anymore.\u003c/p>\n\u003cp>Looks like I’m going to be right pretty soon.\u003c/p>\n\u003cp>According to the U.S. Drought Monitor, almost \u003ca href=\"https://ww2.kqed.org/science/2018/02/22/californias-recurring-nightmare-nearly-half-the-state-is-back-in-drought/\" target=\"_blank\" rel=\"noopener\">half the state is experiencing at least a “moderate drought.”\u003c/a> More than 91 percent of the state, including the Bay Area, is at least “abnormally dry,” the stepping stone to drought.\u003c/p>\n\u003ch3>5. \u003ca href=\"https://ww2.kqed.org/news/2018/02/20/high-court-refusal-to-hear-california-gun-case-provokes-bitter-dissent-from-clarence-thomas/\" target=\"_blank\" rel=\"noopener\">This Supreme Court justice does not like these California gun laws\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11651146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/GettyImages-691161322-e1519156239708.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11651146\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/GettyImages-691161322-800x583.jpg\" alt=\"\" width=\"800\" height=\"583\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Supreme Court Associate Justice Clarence Thomas during official portrait session in June 2017. \u003ccite>(Saul Loeb/AFP-Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The U.S. Supreme Court did something it does all the time this week: it chose not to review a case. The case was a challenge to a California law requiring a 10-day waiting period on gun purchases, even if the buyer had already cleared a previous background check.\u003c/p>\n\u003cp>This did not sit well with Justice Clarence Thomas. He wrote a scathing \u003ca href=\"https://assets.documentcloud.org/documents/4383125/Silvester-v-Becerra.pdf\" target=\"_blank\" rel=\"noopener\">14-page dissent\u003c/a> railing against the decision, saying the court doesn’t respect the Second Amendment as much as other civil liberties.\u003c/p>\n\u003cp>Here’s a taste of Thomas’ displeasure, directed at the 9th U.S. Circuit Court of Appeals, the federal appeals court that covers California:\u003c/p>\n\u003cblockquote>\u003cp>The Ninth Circuit struck down a county’s 5-day waiting period for nude-dancing licenses because it “unreasonably prevent[ed] a dancer from exercising first amendment rights while an application [was] pending.” The Ninth Circuit found it dispositive there, but not here, that the county “failed to demonstrate a need for [the] five-day delay period.” In another case, the Ninth Circuit held that laws embracing traditional marriage failed heightened scrutiny because the states presented “no evidence” other than “speculation and conclusory assertions” to support them. While those laws reflected the wisdom of “thousands of years of human history in every society known to have populated the planet,” they faced a much tougher time in the Ninth Circuit than California’s new and unusual waiting period for firearms. In the Ninth Circuit, it seems, rights that have no basis in the Constitution receive greater protection than the Second Amendment, which is enumerated in the text.\u003c/p>\u003c/blockquote>\n\u003ch1>\u003ca href=\"https://ww2.kqed.org/forum/2018/02/15/national-park-services-betty-reid-soskin-publishes-memoir-at-96/\" target=\"_blank\" rel=\"noopener\">Before you go…\u003c/a>\u003c/h1>\n\u003cp>Betty Reid Soskin is a \u003ca href=\"https://ww2.kqed.org/forum/2018/02/15/national-park-services-betty-reid-soskin-publishes-memoir-at-96/\" target=\"_blank\" rel=\"noopener\">96-year-old full-time national park ranger\u003c/a>. Need I say more?\u003c/p>\n\u003cp>\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/re-EjNHty64'\n title='//www.youtube.com/embed/re-EjNHty64'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Sacramento Finds and Celebrates Itself in New 'Lady Bird' Walking Tour",
"title": "Sacramento Finds and Celebrates Itself in New 'Lady Bird' Walking Tour",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>In the coming-of-age film \"Lady Bird,\" the teenage protagonist, who can’t wait to leave Sacramento, begrudgingly refers to her hometown as the “Midwest of California.”\u003c/p>\n\u003cp>But director Greta Gerwig calls her movie a love letter to California’s capital, where Gerwig herself grew up. The film is up for five Oscars and has been universally adored by critics. Yet nowhere is \"Lady Bird\" more celebrated than in Sacramento. In fact, a brand-new \u003ca href=\"http://www.sacrunningtours.com/ladybirdtours/\">walking tour\u003c/a> visits film locations for fans eager to relive the mood evoked by the sleeper hit.\u003c/p>\n\u003cp>The tour begins in the \"Fabulous Forties,\" an upper-class neighborhood envied by the title character for its rows of Craftsman mansions, sycamore trees and manicured lawns. Tour guide Jenn Kistler-McCoy informs the group that we won’t only be visiting some of the landmarks of \"Lady Bird.\" The route also includes the actual sidewalk where director Greta Gerwig used to walk as a child with her mother.\u003c/p>\n\u003cfigure id=\"attachment_11651845\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-11651845\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29561_Jenn-qut.jpg\" alt=\"Tour guide Jenn Kistler-McCoy, founder of Sac Running Tours, showcases the iconic blue house to her walking tour.\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29561_Jenn-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29561_Jenn-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29561_Jenn-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29561_Jenn-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29561_Jenn-qut-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tour guide Jenn Kistler-McCoy, founder of Sac Running Tours, showcases the iconic blue house from the film \"Lady Bird\" in her walking tour. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“How you learn a city is by walking through it,\" says Kistler-McCoy. \"And so I just feel like it's fitting that we're walking through East Sacramento, up to H Street where (Gerwig) and her mom probably walked to McKinley Park.\"\u003c/p>\n\u003cp>Our first stop is Club Raven, a neighborhood bar with an iconic neon sign that flickers briefly in the film. Kistler-McCoy tells us they’ve created a special Lady Bird cocktail with vodka, blackberry and a hint of lime. Our tour consists of about 30 people, mostly women, who each paid $20 to be here. It’s nothing like those Hollywood bus tours that draw people from all over the world. Every “tourist” in our group lives in Sacramento or a neighboring city.\u003c/p>\n\u003cfigure id=\"attachment_11651841\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11651841 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29560_group-shot-qut.jpg\" alt=\"Seventeen-year-old Riley Burke (Left) is an aspiring writer and filmmaker and draws inspiration from director Greta Gerwig.\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29560_group-shot-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29560_group-shot-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29560_group-shot-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29560_group-shot-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29560_group-shot-qut-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Seventeen-year-old Riley Burke (left) is an aspiring writer and filmmaker and draws inspiration from director Greta Gerwig. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I meet Riley Burke, a 17-year-old high school junior who has grown up in Sacramento. She’s wearing a vintage pink jacket that Lady Bird might have worn. She proudly calls the film \"a story for women, by women.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Seeing this happen, seeing a woman who is from my city succeed, was insanely powerful and inspirational,” says Burke.\u003c/p>\n\u003cp>Like the filmmaker, Lady Bird, the character, has a complicated relationship with her hometown. In one scene, Sister Sarah Joan, the high school principal, tells the protagonist that her college essay shows how much she actually loves Sacramento. Lady Bird replies, “I guess I pay attention.” The nun counters, “Don’t you think they are the same thing — love and attention?”\u003c/p>\n\u003cp>At our next stop, the McKinley Park Rose Garden, I meet Carrie Blythe. She’s 30, and she grew up in the neighboring town of Carmichael. Blythe tells me she signed up for this tour as part of a New Year’s resolution to pay more attention to the beautiful landmarks around her, like this one.\u003c/p>\n\u003cp>“I think it’s going to help Sacramento and maybe people who live here and (are) growing up here appreciate it more,” she says. “It’s bringing attention to things that people took for granted.”\u003c/p>\n\u003cp>Another trekker on the tour, Karlee Cemo-McIntosh, is wearing a purple T-shirt with the words \"Home is Sacramento\" printed on the front. Growing up here, Cemo-McIntosh says she also took Sacramento for granted. But she moved back home after graduating from San Diego State University. That was eight years ago, and Cemo-McIntosh says she never questioned the decision. The story of \"Lady Bird\" transcends Sacramento, she says. It’s a familiar voice reminding us of the time we dauntlessly declared we’d outgrown our hometown, then left only to realize we could never fully separate from that protective place.\u003c/p>\n\u003cp>“It’s not just people from Sacramento who are appreciating it. It’s people from all over that had a place they grew up and left, or stayed, and came back,” says Cemo-McIntosh. “There’s a reason for that, like why they came back or why they love their hometown.”\u003c/p>\n\u003cfigure id=\"attachment_11651842\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-11651842\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29562_pasty-qut.jpg\" alt=\"The Pasty Shack sign flashes briefly onscreen in Lady Bird. An employee said the cameo boosted business this winter.\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29562_pasty-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29562_pasty-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29562_pasty-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29562_pasty-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29562_pasty-qut-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Pasty Shack sign flashes briefly on screen in \"Lady Bird.\" An employee said the cameo boosted business this winter. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next we head to the Pasty Shack, a small pastry shop with a sign featured in the movie. A friendly stranger strolls up.\u003c/p>\n\u003cp>“This has to be a 'Lady Bird' tour,” he says. The crowd cheers. “And good on you. I’ve been hanging out here for too many years.\"\u003c/p>\n\u003cp>It turns out the stranger’s name is Quincy Brown, a 67-year-old Sacramento native. Quincy tells me that some residents have a chip on their shoulder after years of being overlooked as a “cow town.”\u003c/p>\n\u003cp>“I don’t mind a cow town,” he says. “I think we’re a good cow town. I’m OK with that. But I think this is a great town, and I think even a great city, that hasn’t gotten the credit it deserves. This movie gave us the hug that we needed.\"\u003c/p>\n\u003cfigure id=\"attachment_11651843\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-11651843\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29563_Bank-qut.jpg\" alt=\"In one scene in the film, Lady Bird and her father Larry enter the El Dorado Savings Bank to figure out how they will pay for college. Filmmaker Greta Gerwig has a personal connection to the bank: she used to babysit one of the bank tellers.\" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29563_Bank-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29563_Bank-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29563_Bank-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29563_Bank-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29563_Bank-qut-520x347.jpg 520w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">In one scene in the film, Lady Bird and her father Larry enter the El Dorado Savings Bank to figure out how they will pay for college. Filmmaker Greta Gerwig has a personal connection to the bank: she used to babysit one of the bank tellers. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next to the Pasty Shack is El Dorado Savings Bank. In the film, Lady Bird’s father Larry brings her here to figure out how they can pay for college. Bank supervisor Keith Lyles introduces himself to the tour, and shares a personal anecdote that makes it seem as though everyone in Sacramento shares a personal connection to Greta Gerwig and her family.\u003c/p>\n\u003cp>“Even our teller we have here, Greta used to baby-sit him,” says Lyles. “When they did film the movie, Greta came in and said, ‘I used to change his diaper.’ Funny stuff.”\u003c/p>\n\u003cp>The \"Lady Bird\" walking tour ends at a lavish blue house where, in the movie, Lady Bird pretends to live, even though the house actually belongs to her boyfriend's grandmother. In one scene, that boyfriend, Danny, turns to Lady Bird and says, \"Your mom is hard on you.\" To which Lady Bird replies, \"She loves me.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sacramento can be its own harshest critic, but the locals widely agree the fragile pride associated with living here was captured in this authentic portrait. It's a beautiful picture.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the coming-of-age film \"Lady Bird,\" the teenage protagonist, who can’t wait to leave Sacramento, begrudgingly refers to her hometown as the “Midwest of California.”\u003c/p>\n\u003cp>But director Greta Gerwig calls her movie a love letter to California’s capital, where Gerwig herself grew up. The film is up for five Oscars and has been universally adored by critics. Yet nowhere is \"Lady Bird\" more celebrated than in Sacramento. In fact, a brand-new \u003ca href=\"http://www.sacrunningtours.com/ladybirdtours/\">walking tour\u003c/a> visits film locations for fans eager to relive the mood evoked by the sleeper hit.\u003c/p>\n\u003cp>The tour begins in the \"Fabulous Forties,\" an upper-class neighborhood envied by the title character for its rows of Craftsman mansions, sycamore trees and manicured lawns. Tour guide Jenn Kistler-McCoy informs the group that we won’t only be visiting some of the landmarks of \"Lady Bird.\" The route also includes the actual sidewalk where director Greta Gerwig used to walk as a child with her mother.\u003c/p>\n\u003cfigure id=\"attachment_11651845\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-11651845\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29561_Jenn-qut.jpg\" alt=\"Tour guide Jenn Kistler-McCoy, founder of Sac Running Tours, showcases the iconic blue house to her walking tour.\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29561_Jenn-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29561_Jenn-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29561_Jenn-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29561_Jenn-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29561_Jenn-qut-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tour guide Jenn Kistler-McCoy, founder of Sac Running Tours, showcases the iconic blue house from the film \"Lady Bird\" in her walking tour. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“How you learn a city is by walking through it,\" says Kistler-McCoy. \"And so I just feel like it's fitting that we're walking through East Sacramento, up to H Street where (Gerwig) and her mom probably walked to McKinley Park.\"\u003c/p>\n\u003cp>Our first stop is Club Raven, a neighborhood bar with an iconic neon sign that flickers briefly in the film. Kistler-McCoy tells us they’ve created a special Lady Bird cocktail with vodka, blackberry and a hint of lime. Our tour consists of about 30 people, mostly women, who each paid $20 to be here. It’s nothing like those Hollywood bus tours that draw people from all over the world. Every “tourist” in our group lives in Sacramento or a neighboring city.\u003c/p>\n\u003cfigure id=\"attachment_11651841\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11651841 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29560_group-shot-qut.jpg\" alt=\"Seventeen-year-old Riley Burke (Left) is an aspiring writer and filmmaker and draws inspiration from director Greta Gerwig.\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29560_group-shot-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29560_group-shot-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29560_group-shot-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29560_group-shot-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29560_group-shot-qut-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Seventeen-year-old Riley Burke (left) is an aspiring writer and filmmaker and draws inspiration from director Greta Gerwig. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I meet Riley Burke, a 17-year-old high school junior who has grown up in Sacramento. She’s wearing a vintage pink jacket that Lady Bird might have worn. She proudly calls the film \"a story for women, by women.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Seeing this happen, seeing a woman who is from my city succeed, was insanely powerful and inspirational,” says Burke.\u003c/p>\n\u003cp>Like the filmmaker, Lady Bird, the character, has a complicated relationship with her hometown. In one scene, Sister Sarah Joan, the high school principal, tells the protagonist that her college essay shows how much she actually loves Sacramento. Lady Bird replies, “I guess I pay attention.” The nun counters, “Don’t you think they are the same thing — love and attention?”\u003c/p>\n\u003cp>At our next stop, the McKinley Park Rose Garden, I meet Carrie Blythe. She’s 30, and she grew up in the neighboring town of Carmichael. Blythe tells me she signed up for this tour as part of a New Year’s resolution to pay more attention to the beautiful landmarks around her, like this one.\u003c/p>\n\u003cp>“I think it’s going to help Sacramento and maybe people who live here and (are) growing up here appreciate it more,” she says. “It’s bringing attention to things that people took for granted.”\u003c/p>\n\u003cp>Another trekker on the tour, Karlee Cemo-McIntosh, is wearing a purple T-shirt with the words \"Home is Sacramento\" printed on the front. Growing up here, Cemo-McIntosh says she also took Sacramento for granted. But she moved back home after graduating from San Diego State University. That was eight years ago, and Cemo-McIntosh says she never questioned the decision. The story of \"Lady Bird\" transcends Sacramento, she says. It’s a familiar voice reminding us of the time we dauntlessly declared we’d outgrown our hometown, then left only to realize we could never fully separate from that protective place.\u003c/p>\n\u003cp>“It’s not just people from Sacramento who are appreciating it. It’s people from all over that had a place they grew up and left, or stayed, and came back,” says Cemo-McIntosh. “There’s a reason for that, like why they came back or why they love their hometown.”\u003c/p>\n\u003cfigure id=\"attachment_11651842\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-11651842\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29562_pasty-qut.jpg\" alt=\"The Pasty Shack sign flashes briefly onscreen in Lady Bird. An employee said the cameo boosted business this winter.\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29562_pasty-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29562_pasty-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29562_pasty-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29562_pasty-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29562_pasty-qut-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Pasty Shack sign flashes briefly on screen in \"Lady Bird.\" An employee said the cameo boosted business this winter. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next we head to the Pasty Shack, a small pastry shop with a sign featured in the movie. A friendly stranger strolls up.\u003c/p>\n\u003cp>“This has to be a 'Lady Bird' tour,” he says. The crowd cheers. “And good on you. I’ve been hanging out here for too many years.\"\u003c/p>\n\u003cp>It turns out the stranger’s name is Quincy Brown, a 67-year-old Sacramento native. Quincy tells me that some residents have a chip on their shoulder after years of being overlooked as a “cow town.”\u003c/p>\n\u003cp>“I don’t mind a cow town,” he says. “I think we’re a good cow town. I’m OK with that. But I think this is a great town, and I think even a great city, that hasn’t gotten the credit it deserves. This movie gave us the hug that we needed.\"\u003c/p>\n\u003cfigure id=\"attachment_11651843\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-11651843\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29563_Bank-qut.jpg\" alt=\"In one scene in the film, Lady Bird and her father Larry enter the El Dorado Savings Bank to figure out how they will pay for college. Filmmaker Greta Gerwig has a personal connection to the bank: she used to babysit one of the bank tellers.\" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29563_Bank-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29563_Bank-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29563_Bank-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29563_Bank-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29563_Bank-qut-520x347.jpg 520w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">In one scene in the film, Lady Bird and her father Larry enter the El Dorado Savings Bank to figure out how they will pay for college. Filmmaker Greta Gerwig has a personal connection to the bank: she used to babysit one of the bank tellers. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next to the Pasty Shack is El Dorado Savings Bank. In the film, Lady Bird’s father Larry brings her here to figure out how they can pay for college. Bank supervisor Keith Lyles introduces himself to the tour, and shares a personal anecdote that makes it seem as though everyone in Sacramento shares a personal connection to Greta Gerwig and her family.\u003c/p>\n\u003cp>“Even our teller we have here, Greta used to baby-sit him,” says Lyles. “When they did film the movie, Greta came in and said, ‘I used to change his diaper.’ Funny stuff.”\u003c/p>\n\u003cp>The \"Lady Bird\" walking tour ends at a lavish blue house where, in the movie, Lady Bird pretends to live, even though the house actually belongs to her boyfriend's grandmother. In one scene, that boyfriend, Danny, turns to Lady Bird and says, \"Your mom is hard on you.\" To which Lady Bird replies, \"She loves me.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sacramento can be its own harshest critic, but the locals widely agree the fragile pride associated with living here was captured in this authentic portrait. It's a beautiful picture.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Timbuctoo: The Ghost of a Ghost Town",
"title": "Timbuctoo: The Ghost of a Ghost Town",
"headTitle": "A Place Called What?! | The California Report | KQED News",
"content": "\u003cp>\u003cem>A lot of us Californians like to hit the open road, explore miles of highway and venture off onto some back roads. Sometimes, we come across towns with some pretty bizarre and surprising names. For this installment in our series “\u003ca href=\"https://ww2.kqed.org/news/series/a-place-called-what/\" target=\"_blank\" rel=\"noopener\">A Place Called What?!\u003c/a>” we head to Timbuctoo in Yuba County. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Know a California spot with an unusual name? Tell us about it in the comments below, or send a note to calreport@kqed.org.\u003c/em>\u003c/p>\n\u003cp>Lane Parker says that when miners came to the area, they wanted to name it for a place that was far away and rich in gold. \"They were thinking of Timbuktu in Africa,\" Parker says. \"That stuck. They just changed the spelling.\"\u003c/p>\n\u003cp>Parker, who has written a book about Timbuctoo, says he became interested in it when he found a travel diary entry from his great-grandmother saying she had visited the town. \"I had never heard of [it] before,\" says Parker, who lives in San Francisco, \"and so I wanted to know more.\"\u003c/p>\n\u003cfigure id=\"attachment_11650072\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11650072\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-800x722.jpg\" alt=\"\" width=\"800\" height=\"722\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-800x722.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-160x144.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-1020x921.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-1180x1065.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-960x867.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-240x217.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-375x338.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-520x469.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hydraulic mining operations at Timbuctoo diggings site in 1866. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parker left San Francisco on his motorcycle in search of Timbuctoo. \"I couldn't find anything and I couldn't believe that there was just no town there,\" he says. \"If I couldn't find the place where it was, then I wanted to find it at least on paper.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A couple of years later, Parker realized he had made a wrong turn during his first trip. Timbuctoo \"was on the other side of the road a little bit farther up,\" he explains, but there really wasn't much to see anyway.\u003c/p>\n\u003cfigure id=\"attachment_11650065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11650065\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-800x503.jpg\" alt=\"\" width=\"800\" height=\"503\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-1020x641.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-1180x741.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-960x603.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-240x151.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-375x236.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-520x327.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wells Fargo building at Timbuctoo, taken in the 1940s, when it was open as a museum. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"There [are] the ruins of the most famous building of that town called the Wells Fargo Stewart Brothers Store,\" Parker says. \"It's an 1855 building, built of brick and iron doors because it held Wells Fargo gold.\"\u003c/p>\n\u003cp>Parker says there was also a theater in Timbuctoo that seated 800 people. \"It ended up being used by Chinese miners, who came in after all the white miners had left, and the Chinese used to sleep in the basement of that theater,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_11650066\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11650066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-800x480.jpg\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-800x480.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-1020x613.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-1180x709.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-960x577.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-240x144.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-375x225.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-520x312.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut.jpg 1640w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo taken in the early 1900s shows the brick remains of the Timbuctoo Theater. \u003ccite>(Courtesy of California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But good luck trying to find this theater. If you know where to look, Parker says, you can see the graded smooth parts of the plots of the theater. \"But you cannot see anything of what the town used to be except the Wells Fargo ruins. You cannot see anything.\"\u003c/p>\n\u003cp>\"That's interesting to me,\" Parker says. \"How a number of factors can create the perfect storm and a town just withers and dies.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Timbuctoo,\" he says, \"is the ghost of a ghost town.\"\u003c/p>\n\n",
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"excerpt": "The ruins may not look like much, but this ghost town with an extravagant name was once a busy Gold Rush site. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>A lot of us Californians like to hit the open road, explore miles of highway and venture off onto some back roads. Sometimes, we come across towns with some pretty bizarre and surprising names. For this installment in our series “\u003ca href=\"https://ww2.kqed.org/news/series/a-place-called-what/\" target=\"_blank\" rel=\"noopener\">A Place Called What?!\u003c/a>” we head to Timbuctoo in Yuba County. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Know a California spot with an unusual name? Tell us about it in the comments below, or send a note to calreport@kqed.org.\u003c/em>\u003c/p>\n\u003cp>Lane Parker says that when miners came to the area, they wanted to name it for a place that was far away and rich in gold. \"They were thinking of Timbuktu in Africa,\" Parker says. \"That stuck. They just changed the spelling.\"\u003c/p>\n\u003cp>Parker, who has written a book about Timbuctoo, says he became interested in it when he found a travel diary entry from his great-grandmother saying she had visited the town. \"I had never heard of [it] before,\" says Parker, who lives in San Francisco, \"and so I wanted to know more.\"\u003c/p>\n\u003cfigure id=\"attachment_11650072\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11650072\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-800x722.jpg\" alt=\"\" width=\"800\" height=\"722\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-800x722.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-160x144.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-1020x921.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-1180x1065.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-960x867.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-240x217.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-375x338.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29442_01_TIMBUCTOO-HydrolicMining_LibraryofCongress-qut-520x469.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hydraulic mining operations at Timbuctoo diggings site in 1866. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parker left San Francisco on his motorcycle in search of Timbuctoo. \"I couldn't find anything and I couldn't believe that there was just no town there,\" he says. \"If I couldn't find the place where it was, then I wanted to find it at least on paper.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A couple of years later, Parker realized he had made a wrong turn during his first trip. Timbuctoo \"was on the other side of the road a little bit farther up,\" he explains, but there really wasn't much to see anyway.\u003c/p>\n\u003cfigure id=\"attachment_11650065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11650065\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-800x503.jpg\" alt=\"\" width=\"800\" height=\"503\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-1020x641.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-1180x741.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-960x603.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-240x151.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-375x236.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29445_04_TIMBUCTOO-WellsFargoBuilding-1940s_Library-of-Congress-qut-520x327.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wells Fargo building at Timbuctoo, taken in the 1940s, when it was open as a museum. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"There [are] the ruins of the most famous building of that town called the Wells Fargo Stewart Brothers Store,\" Parker says. \"It's an 1855 building, built of brick and iron doors because it held Wells Fargo gold.\"\u003c/p>\n\u003cp>Parker says there was also a theater in Timbuctoo that seated 800 people. \"It ended up being used by Chinese miners, who came in after all the white miners had left, and the Chinese used to sleep in the basement of that theater,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_11650066\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11650066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-800x480.jpg\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-800x480.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-1020x613.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-1180x709.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-960x577.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-240x144.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-375x225.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut-520x312.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29444_03_TIMBUCTOO-Theater_California-Historical-Society-qut.jpg 1640w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo taken in the early 1900s shows the brick remains of the Timbuctoo Theater. \u003ccite>(Courtesy of California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But good luck trying to find this theater. If you know where to look, Parker says, you can see the graded smooth parts of the plots of the theater. \"But you cannot see anything of what the town used to be except the Wells Fargo ruins. You cannot see anything.\"\u003c/p>\n\u003cp>\"That's interesting to me,\" Parker says. \"How a number of factors can create the perfect storm and a town just withers and dies.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Timbuctoo,\" he says, \"is the ghost of a ghost town.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Sculpture Wonderland That Once Delighted I-80 Drivers",
"headTitle": "The Sculpture Wonderland That Once Delighted I-80 Drivers | KQED",
"content": "\u003cp>Back in the day, \u003ca href=\"http://ww2.kqed.org/news/series/baycurious/\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a> listener Lisa Schwartz remembers seeing something odd in Emeryville. Nestled in the \u003ca href=\"https://www.google.com/maps/d/u/0/embed?mid=1naQRXhQ-gotqrigL-juFYkJxGnNsnada&ll=37.831920800000006%2C-122.29527710000002&z=17\" target=\"_blank\" rel=\"noopener\">armpit of The Maze\u003c/a> — across Interstate 80 from where IKEA is today — was a stretch of muddy tidal flat full of creatures.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>There was a ramshackle warrior riding a horse into battle. Fifty feet away – a wooden dog playing an electric guitar. And when the sun was setting just right, the silhouette of a toothy sea monster emerged from the muck.\u003c/p>\n\u003cp>If you were a kid in the back seat of a car, driving by the Emeryville Mudflats was magic.\u003c/p>\n\u003cp>Our listener, Lisa Schwartz, wants to know: What happened to those sculptures? Or was it all a dream?\u003c/p>\n\u003cfigure id=\"attachment_11651385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11651385\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Scan-16_1250-800x616.jpg\" alt=\"For decades, artists would make, destroy and remake sculptures on the mudflats. \" width=\"800\" height=\"616\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-800x616.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-160x123.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-1020x785.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-1180x908.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-960x739.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-240x185.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-375x289.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-520x400.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250.jpg 1250w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For decades, artists would make, destroy and remake sculptures on the mudflats. \u003ccite>(Courtesy of Walt Ringbom.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the beginning of the 1960s the mudflats were a wasteland of space by the side of the freeway approaching the Bay Bridge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Emeryville Crescent was in probably the loudest, most busiest spot in the whole area,” says \u003ca href=\"http://joeyenos.net/\" target=\"_blank\" rel=\"noopener\">Joey Enos\u003c/a>, a sculptor and historian for the Emeryville Mudflats. “You have three or four major freeways meeting right there.”\u003c/p>\n\u003cp>Tons of driftwood, trash and debris would float into the area during tidal changes. To many it was an eyesore … but to a few artists, it was an opportunity.\u003c/p>\n\u003caside class=\"alignright noborder\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.google.com/maps/d/u/0/embed?mid=1naQRXhQ-gotqrigL-juFYkJxGnNsnada\" width=\"350\" height=\"270\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003cbr>\n\u003c/aside>\n\u003cp>After an initial ad hoc sculpture popped up (accounts differ as to who was responsible for the first installation, though Enos likes \u003ca href=\"https://www.davidzwirner.com/artists/john-mccracken\" target=\"_blank\" rel=\"noopener\">John McCracken\u003c/a> for it), the Mudflats became a venue for anonymous public art. Contributors included professional artists, students, local factory workers and housewives.\u003c/p>\n\u003cp>People built hands rising from the mud, vikings, dragons, sphinxes, kangaroos, birds and trains. These forms were built with driftwood, foam, hubcaps, brooms, plastic jugs and buckets — basically, it was a lot of junk, nailed together to create something beautiful.\u003c/p>\n\u003cp>The lawless space for free expression lasted for about 30 years. Enos’ mother actually announced her pregnancy to his father by building a baby buggy sculpture at the Mudflats.\u003c/p>\n\u003cp>“It was really kicking in the ’70s,” Enos says of the Mudflats’ visiting sculptors. “Technically, they were trespassing, but no one bothered them. Emeryville loved it, because it made them look classy.”\u003c/p>\n\u003cp>It was not a static space. People would borrow pieces from one sculpture to build a new one. When activists heard about the sculpture garden, they used it to transmit political messages to passing cars.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11651381,11651382,11651383,11651384,11651385,11651386,11651387,11651388,11651389,11651390,11651391,11651392,11651393\"]\u003c/p>\n\u003cp>“If you made anything political, it was asking for people to mess with it,” Enos says. “To either add to it, or flatten it, because they disagreed.”\u003c/p>\n\u003cp>This flattening and rebuilding process was called “editing” and it was actually shown in a \u003ca href=\"https://www.youtube.com/watch?v=XmCZmeemDzQ\" target=\"_blank\" rel=\"noopener\">deleted scene\u003c/a> from the cult classic film, “Harold and Maude.” The titular couple are sitting along the freeway enjoying the sculptures and a sunset over the bay when two figures emerge and start attacking a sign that spells out F-U-C-K W-A-R. When they leave, all that is left is the word WAR.\u003c/p>\n\u003cfigure id=\"attachment_11651388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11651388\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Scan-20_1250-800x559.jpg\" alt='An expletive-free version of the \"FUCK WAR\" sculpture.' width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-160x112.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-1020x712.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-1180x824.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-960x670.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-240x168.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-375x262.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-520x363.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250.jpg 1250w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An expletive-free version of the “FUCK WAR” sculpture. \u003ccite>(Courtesy of Walt Ringbom.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Something else speaks to Enos about the Mudflats: It proved anybody could make public art, or augment it and make it their own. Even if academically trained artists got things started, ordinary people and folk artists were the ones who kept the space alive.\u003c/p>\n\u003cp>“I’m really into this idea that people showed up in California, and they had this beautiful Italianesque landscape around them and they were like, ‘You know what this needs? A giant artichoke! You know what this needs? A giant igloo in the desert!’ ” Enos says. “Making your own world, by any means necessary, is really interesting to me.”\u003c/p>\n\u003cp>On a recent visit, the only sculptures one could see were two horses made of buckets. That’s a far cry from the dozens and dozens of sculptures that once filled the area. So what happened?\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>Land along the waterfront in Emeryville was sold, and new Miami-style condos with floor-to-ceiling windows were built next to the mudflats. For the condo’s new residents, all that junk art spoiled the epic views they’d been promised.\u003c/p>\n\u003cp>Around the same time the sculptures started getting flattened at rapid rates.\u003c/p>\n\u003cp>“There were a lot of conspiracy theories,” says Enos. “Some people suspect the developers themselves were dismantling the sculptures, smashing them to bits or even setting some on fire.”\u003c/p>\n\u003cp>Environmentalists in the Bay Area also disapproved of the sculptures. The junk and the artists were disruptive to the area’s delicate ecosystem.\u003c/p>\n\u003cp>Then in 1989 came the Loma Prieta earthquake. The 6.9 magnitude earthquake damaged sections of Emeryville, including the highway that ran alongside the mudflats. A new highway was built that no longer had a clear view of the mudflats. With less of an audience, artists were further disincentivized to make work.\u003c/p>\n\u003cp>Finally came the cleanup. In 1998, Caltrans spent millions to cart away tons of garbage and driftwood by helicopter. Without access to free materials, the sculpture garden was finished.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n",
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"title": "The Sculpture Wonderland That Once Delighted I-80 Drivers | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in the day, \u003ca href=\"http://ww2.kqed.org/news/series/baycurious/\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a> listener Lisa Schwartz remembers seeing something odd in Emeryville. Nestled in the \u003ca href=\"https://www.google.com/maps/d/u/0/embed?mid=1naQRXhQ-gotqrigL-juFYkJxGnNsnada&ll=37.831920800000006%2C-122.29527710000002&z=17\" target=\"_blank\" rel=\"noopener\">armpit of The Maze\u003c/a> — across Interstate 80 from where IKEA is today — was a stretch of muddy tidal flat full of creatures.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There was a ramshackle warrior riding a horse into battle. Fifty feet away – a wooden dog playing an electric guitar. And when the sun was setting just right, the silhouette of a toothy sea monster emerged from the muck.\u003c/p>\n\u003cp>If you were a kid in the back seat of a car, driving by the Emeryville Mudflats was magic.\u003c/p>\n\u003cp>Our listener, Lisa Schwartz, wants to know: What happened to those sculptures? Or was it all a dream?\u003c/p>\n\u003cfigure id=\"attachment_11651385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11651385\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Scan-16_1250-800x616.jpg\" alt=\"For decades, artists would make, destroy and remake sculptures on the mudflats. \" width=\"800\" height=\"616\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-800x616.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-160x123.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-1020x785.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-1180x908.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-960x739.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-240x185.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-375x289.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250-520x400.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-16_1250.jpg 1250w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For decades, artists would make, destroy and remake sculptures on the mudflats. \u003ccite>(Courtesy of Walt Ringbom.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the beginning of the 1960s the mudflats were a wasteland of space by the side of the freeway approaching the Bay Bridge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Emeryville Crescent was in probably the loudest, most busiest spot in the whole area,” says \u003ca href=\"http://joeyenos.net/\" target=\"_blank\" rel=\"noopener\">Joey Enos\u003c/a>, a sculptor and historian for the Emeryville Mudflats. “You have three or four major freeways meeting right there.”\u003c/p>\n\u003cp>Tons of driftwood, trash and debris would float into the area during tidal changes. To many it was an eyesore … but to a few artists, it was an opportunity.\u003c/p>\n\u003caside class=\"alignright noborder\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.google.com/maps/d/u/0/embed?mid=1naQRXhQ-gotqrigL-juFYkJxGnNsnada\" width=\"350\" height=\"270\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003cbr>\n\u003c/aside>\n\u003cp>After an initial ad hoc sculpture popped up (accounts differ as to who was responsible for the first installation, though Enos likes \u003ca href=\"https://www.davidzwirner.com/artists/john-mccracken\" target=\"_blank\" rel=\"noopener\">John McCracken\u003c/a> for it), the Mudflats became a venue for anonymous public art. Contributors included professional artists, students, local factory workers and housewives.\u003c/p>\n\u003cp>People built hands rising from the mud, vikings, dragons, sphinxes, kangaroos, birds and trains. These forms were built with driftwood, foam, hubcaps, brooms, plastic jugs and buckets — basically, it was a lot of junk, nailed together to create something beautiful.\u003c/p>\n\u003cp>The lawless space for free expression lasted for about 30 years. Enos’ mother actually announced her pregnancy to his father by building a baby buggy sculpture at the Mudflats.\u003c/p>\n\u003cp>“It was really kicking in the ’70s,” Enos says of the Mudflats’ visiting sculptors. “Technically, they were trespassing, but no one bothered them. Emeryville loved it, because it made them look classy.”\u003c/p>\n\u003cp>It was not a static space. People would borrow pieces from one sculpture to build a new one. When activists heard about the sculpture garden, they used it to transmit political messages to passing cars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you made anything political, it was asking for people to mess with it,” Enos says. “To either add to it, or flatten it, because they disagreed.”\u003c/p>\n\u003cp>This flattening and rebuilding process was called “editing” and it was actually shown in a \u003ca href=\"https://www.youtube.com/watch?v=XmCZmeemDzQ\" target=\"_blank\" rel=\"noopener\">deleted scene\u003c/a> from the cult classic film, “Harold and Maude.” The titular couple are sitting along the freeway enjoying the sculptures and a sunset over the bay when two figures emerge and start attacking a sign that spells out F-U-C-K W-A-R. When they leave, all that is left is the word WAR.\u003c/p>\n\u003cfigure id=\"attachment_11651388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11651388\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Scan-20_1250-800x559.jpg\" alt='An expletive-free version of the \"FUCK WAR\" sculpture.' width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-160x112.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-1020x712.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-1180x824.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-960x670.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-240x168.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-375x262.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250-520x363.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/Scan-20_1250.jpg 1250w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An expletive-free version of the “FUCK WAR” sculpture. \u003ccite>(Courtesy of Walt Ringbom.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Something else speaks to Enos about the Mudflats: It proved anybody could make public art, or augment it and make it their own. Even if academically trained artists got things started, ordinary people and folk artists were the ones who kept the space alive.\u003c/p>\n\u003cp>“I’m really into this idea that people showed up in California, and they had this beautiful Italianesque landscape around them and they were like, ‘You know what this needs? A giant artichoke! You know what this needs? A giant igloo in the desert!’ ” Enos says. “Making your own world, by any means necessary, is really interesting to me.”\u003c/p>\n\u003cp>On a recent visit, the only sculptures one could see were two horses made of buckets. That’s a far cry from the dozens and dozens of sculptures that once filled the area. So what happened?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Land along the waterfront in Emeryville was sold, and new Miami-style condos with floor-to-ceiling windows were built next to the mudflats. For the condo’s new residents, all that junk art spoiled the epic views they’d been promised.\u003c/p>\n\u003cp>Around the same time the sculptures started getting flattened at rapid rates.\u003c/p>\n\u003cp>“There were a lot of conspiracy theories,” says Enos. “Some people suspect the developers themselves were dismantling the sculptures, smashing them to bits or even setting some on fire.”\u003c/p>\n\u003cp>Environmentalists in the Bay Area also disapproved of the sculptures. The junk and the artists were disruptive to the area’s delicate ecosystem.\u003c/p>\n\u003cp>Then in 1989 came the Loma Prieta earthquake. The 6.9 magnitude earthquake damaged sections of Emeryville, including the highway that ran alongside the mudflats. A new highway was built that no longer had a clear view of the mudflats. With less of an audience, artists were further disincentivized to make work.\u003c/p>\n\u003cp>Finally came the cleanup. In 1998, Caltrans spent millions to cart away tons of garbage and driftwood by helicopter. Without access to free materials, the sculpture garden was finished.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 1984, two men were thinking a lot about the Internet. One of them invented it. The other is an artist who would see its impact on society with uncanny prescience.\u003c/p>\n\u003cp>First is the man often called “the father of the Internet,” Vint Cerf. Between the early 1970s and early ’80s, he led a team of scientists supported by research from the Defense Department.\u003c/p>\n\u003cp>Initially, Cerf was trying to create an Internet through which scientists and academics from all over the world could share data and research.\u003c/p>\n\u003cp>Then, one day in 1988, Cerf says he went to a conference for commercial vendors where they were selling products for the Internet.\u003c/p>\n\u003cp>“I just stood there thinking, ‘My God! Somebody thinks they’re going to make money out of the Internet.’ ” Cerf was surprised and happy. “I was a big proponent of that. My friends in the community thought I was nuts. ‘Why would you let the unwashed masses get access to the Internet?’ And I said, ‘Because I want everybody to take advantage of its capability.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/583682937/587195961\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Clearly, Cerf is an optimist. That is what allowed him to dream big. But, in retrospect, some of the decisions his team made seem hopelessly naive, especially for a bunch of geniuses.\u003c/p>\n\u003cp>They made it possible to surf the Internet anonymously — unlike a telephone, you don’t have a unique number that announces who you are. We know how that turned out. People with less lofty ambitions than Cerf used that loophole for cybercrime, international espionage and online harassment.\u003c/p>\n\u003cp>Cerf admits all that dark stuff never crossed his mind. “And we have to cope with that — I mean, welcome to the real world,” he says.\u003c/p>\n\u003cp>And in a way, why would Cerf have imagined all this? He was a scientist deeply engaged in solving a great technical problem.\u003c/p>\n\u003cfigure id=\"attachment_11651166\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-800x533.jpg\" alt='Vint Cerf, now a Google vice president, is often called the \"father of the Internet.\" He admits that when he and his team created the Internet, he never imagined how it would turn out.' width=\"800\" height=\"533\" class=\"size-medium wp-image-11651166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vint Cerf, now a Google vice president, is often called the “father of the Internet.” He admits that when he and his team created the Internet, he never imagined how it would turn out. \u003ccite>(Chandan Khanna/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Cerf and his colleagues were busy inventing, the young aspiring science fiction writer William Gibson was looking for a place to set his first novel. Gibson was living in Seattle, and he had friends who worked in the budding tech industry. They told him about computers and the Internet, “and I was sitting with a yellow legal pad trying to come up with trippy names for a new arena in which science fiction could be staged.”\u003c/p>\n\u003cp>The name Gibson came up with: cyberspace. And for a guy who had never seen it, he did a great job describing it in that 1984 book, \u003cem>Neuromancer\u003c/em>: “A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding.”\u003c/p>\n\u003cp>Somehow Gibson was able to imagine the potential scale of it — all those computers connected together.\u003c/p>\n\u003cp>[contextly_sidebar id=”ksesNCAmwR6qaXhjyHE0yRJ34BYVJ0Ab”]\u003c/p>\n\u003cp>But, it isn’t just the Internet that Gibson saw coming. In \u003cem>Neuromancer\u003c/em>, the Internet has become dominated by huge multinational corporations fighting off hackers. The main character is a washed-up criminal hacker who goes to work for an ex-military officer to regain his glory. And get this: The ex-military guy is deeply involved in cyber-espionage between the U.S. and Russia.\u003c/p>\n\u003cp>Gibson says he didn’t need to try a computer or see the Internet to imagine this future. “The first people to embrace a technology are the first to lose the ability to see it objectively,” he says.\u003c/p>\n\u003cp>He says he’s more interested in how people behave around new technologies. He likes to tell a story about how TV changed New York City neighborhoods in the 1940s.\u003c/p>\n\u003cp>“Fewer people sat out on the stoops at night and talked to their neighbors, and it was because everyone was inside watching television,” he says. “No one really noticed it at the time as a kind of epochal event, which I think it was.”\u003c/p>\n\u003cp>After years of covering Silicon Valley and speaking with brilliant inventors, I found Gibson’s point a revelation. Our tech entrepreneurs are focused almost exclusively on how their devices will be used by individuals — not how those devices will change society. They want to make things that are addictive and entertaining. That is why I’ve started to take science fiction more seriously.\u003c/p>\n\u003cp>Among the sci-fi artists looking at today’s latest technologies is \u003ca href=\"https://www.npr.org/2016/10/20/498683379/black-mirror-creator-dramatizes-our-worst-nightmares-about-technology\">Charlie Brooker\u003c/a>, the creator and writer of the Netflix show \u003cem>Black Mirror\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=”pRj5t3aSlyGPaGOIkkU8A5fxKRS3WLQb”]\u003c/p>\n\u003cp>Brooker has a certain amount of frustration with the leaders in tech. “It’s felt like tech companies have for years just put this stuff out there,” he says. “And they distance themselves from the effects of their product effectively by saying, ‘Oh, we’re just offering a service.’ ”\u003c/p>\n\u003cp>Brooker sees each new technology more like an untested drug waiting to launch us on a very bad trip. Each episode of \u003cem>Black Mirror\u003c/em> is like its own laboratory testing a technology that is already out, but pushing it by mixing in common human behaviors and desires.\u003c/p>\n\u003cp>In one episode, everyone \u003ca href=\"https://www.theverge.com/2016/10/24/13379204/black-mirror-season-3-episode-1-nosedive-recap\">ranks one another\u003c/a> on how well they interact socially in real time. It’s like Yelp on steroids. The result is a nightmare society — every smile is forced; it’s impossible to be honest with anyone.\u003c/p>\n\u003cp>In another episode, a grieving women hires a service that scans social media and other accounts of her deceased lover. It uses the information to bring him back as a humanoid robot. He speaks and responds almost exactly like the man she lost. And in case you’re wondering: Such technology is \u003ca href=\"https://qz.com/896207/death-technology-will-allow-grieving-people-to-bring-back-their-loved-ones-from-the-dead-digitally/\">already in the works\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”egwQHUAix0ujlZTr6aUl9EJRXPpDPD38″]\u003c/p>\n\u003cp>Brooker says he does admire inventors. He knows he could never be one.\u003c/p>\n\u003cp>“I could scarcely have invented the shoe,” Brooker says. “I’d be worrying that that would restrict your feet.”\u003c/p>\n\u003cp>There is a kind of optimism that it takes to be an inventor. But the father of the Internet thinks inventors need the artists.\u003c/p>\n\u003cp>“It’s the mind-stretching practice of trying to think what the implications of technology will be that makes me enjoy science fiction,” Cerf says. “It teaches me that when you’re inventing something you should try to think about what the consequences might be.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The artists are the ones who recognize a fundamental truth: Human nature hasn’t changed much since Shakespeare’s time, no matter what fancy new tools you give us. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Father+Of+The+Internet+Sees+His+Invention+Reflected+Back+Through+A+%27Black+Mirror%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1984, two men were thinking a lot about the Internet. One of them invented it. The other is an artist who would see its impact on society with uncanny prescience.\u003c/p>\n\u003cp>First is the man often called “the father of the Internet,” Vint Cerf. Between the early 1970s and early ’80s, he led a team of scientists supported by research from the Defense Department.\u003c/p>\n\u003cp>Initially, Cerf was trying to create an Internet through which scientists and academics from all over the world could share data and research.\u003c/p>\n\u003cp>Then, one day in 1988, Cerf says he went to a conference for commercial vendors where they were selling products for the Internet.\u003c/p>\n\u003cp>“I just stood there thinking, ‘My God! Somebody thinks they’re going to make money out of the Internet.’ ” Cerf was surprised and happy. “I was a big proponent of that. My friends in the community thought I was nuts. ‘Why would you let the unwashed masses get access to the Internet?’ And I said, ‘Because I want everybody to take advantage of its capability.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/583682937/587195961\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Clearly, Cerf is an optimist. That is what allowed him to dream big. But, in retrospect, some of the decisions his team made seem hopelessly naive, especially for a bunch of geniuses.\u003c/p>\n\u003cp>They made it possible to surf the Internet anonymously — unlike a telephone, you don’t have a unique number that announces who you are. We know how that turned out. People with less lofty ambitions than Cerf used that loophole for cybercrime, international espionage and online harassment.\u003c/p>\n\u003cp>Cerf admits all that dark stuff never crossed his mind. “And we have to cope with that — I mean, welcome to the real world,” he says.\u003c/p>\n\u003cp>And in a way, why would Cerf have imagined all this? He was a scientist deeply engaged in solving a great technical problem.\u003c/p>\n\u003cfigure id=\"attachment_11651166\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-800x533.jpg\" alt='Vint Cerf, now a Google vice president, is often called the \"father of the Internet.\" He admits that when he and his team created the Internet, he never imagined how it would turn out.' width=\"800\" height=\"533\" class=\"size-medium wp-image-11651166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/gettyimages-461078056_custom-eff51ac1e90995ec05aa2ae8a30b54a1c560df5e-s1600-c85.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vint Cerf, now a Google vice president, is often called the “father of the Internet.” He admits that when he and his team created the Internet, he never imagined how it would turn out. \u003ccite>(Chandan Khanna/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Cerf and his colleagues were busy inventing, the young aspiring science fiction writer William Gibson was looking for a place to set his first novel. Gibson was living in Seattle, and he had friends who worked in the budding tech industry. They told him about computers and the Internet, “and I was sitting with a yellow legal pad trying to come up with trippy names for a new arena in which science fiction could be staged.”\u003c/p>\n\u003cp>The name Gibson came up with: cyberspace. And for a guy who had never seen it, he did a great job describing it in that 1984 book, \u003cem>Neuromancer\u003c/em>: “A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding.”\u003c/p>\n\u003cp>Somehow Gibson was able to imagine the potential scale of it — all those computers connected together.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But, it isn’t just the Internet that Gibson saw coming. In \u003cem>Neuromancer\u003c/em>, the Internet has become dominated by huge multinational corporations fighting off hackers. The main character is a washed-up criminal hacker who goes to work for an ex-military officer to regain his glory. And get this: The ex-military guy is deeply involved in cyber-espionage between the U.S. and Russia.\u003c/p>\n\u003cp>Gibson says he didn’t need to try a computer or see the Internet to imagine this future. “The first people to embrace a technology are the first to lose the ability to see it objectively,” he says.\u003c/p>\n\u003cp>He says he’s more interested in how people behave around new technologies. He likes to tell a story about how TV changed New York City neighborhoods in the 1940s.\u003c/p>\n\u003cp>“Fewer people sat out on the stoops at night and talked to their neighbors, and it was because everyone was inside watching television,” he says. “No one really noticed it at the time as a kind of epochal event, which I think it was.”\u003c/p>\n\u003cp>After years of covering Silicon Valley and speaking with brilliant inventors, I found Gibson’s point a revelation. Our tech entrepreneurs are focused almost exclusively on how their devices will be used by individuals — not how those devices will change society. They want to make things that are addictive and entertaining. That is why I’ve started to take science fiction more seriously.\u003c/p>\n\u003cp>Among the sci-fi artists looking at today’s latest technologies is \u003ca href=\"https://www.npr.org/2016/10/20/498683379/black-mirror-creator-dramatizes-our-worst-nightmares-about-technology\">Charlie Brooker\u003c/a>, the creator and writer of the Netflix show \u003cem>Black Mirror\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Brooker has a certain amount of frustration with the leaders in tech. “It’s felt like tech companies have for years just put this stuff out there,” he says. “And they distance themselves from the effects of their product effectively by saying, ‘Oh, we’re just offering a service.’ ”\u003c/p>\n\u003cp>Brooker sees each new technology more like an untested drug waiting to launch us on a very bad trip. Each episode of \u003cem>Black Mirror\u003c/em> is like its own laboratory testing a technology that is already out, but pushing it by mixing in common human behaviors and desires.\u003c/p>\n\u003cp>In one episode, everyone \u003ca href=\"https://www.theverge.com/2016/10/24/13379204/black-mirror-season-3-episode-1-nosedive-recap\">ranks one another\u003c/a> on how well they interact socially in real time. It’s like Yelp on steroids. The result is a nightmare society — every smile is forced; it’s impossible to be honest with anyone.\u003c/p>\n\u003cp>In another episode, a grieving women hires a service that scans social media and other accounts of her deceased lover. It uses the information to bring him back as a humanoid robot. He speaks and responds almost exactly like the man she lost. And in case you’re wondering: Such technology is \u003ca href=\"https://qz.com/896207/death-technology-will-allow-grieving-people-to-bring-back-their-loved-ones-from-the-dead-digitally/\">already in the works\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Brooker says he does admire inventors. He knows he could never be one.\u003c/p>\n\u003cp>“I could scarcely have invented the shoe,” Brooker says. “I’d be worrying that that would restrict your feet.”\u003c/p>\n\u003cp>There is a kind of optimism that it takes to be an inventor. But the father of the Internet thinks inventors need the artists.\u003c/p>\n\u003cp>“It’s the mind-stretching practice of trying to think what the implications of technology will be that makes me enjoy science fiction,” Cerf says. “It teaches me that when you’re inventing something you should try to think about what the consequences might be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“How can we go from pretending this isn’t an issue to actually doing something about it?”\u003c/p>\n\u003cp>That’s the central question Oakland and Los Angeles-based artist Kenyatta A.C. Hinkle poses in “The Retrieval,” a new solo exhibition at the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission’s\u003c/a> main gallery, featuring a series of works inspired by young black women who have gone missing due to human trafficking.\u003c/p>\n\u003cp>“It’s a global issue, it’s a historical issue and it’s present issue,” Hinkle says, “And hopefully, it’s not a future issue.”\u003c/p>\n\u003cp>According to the \u003ca href=\"http://blackandmissing.org/\" target=\"_blank\" rel=\"noopener\">Black and Missing Foundation\u003c/a>, 64,000 black women were missing in the U.S. in 2014. “The Retrieval” marks an attempt to shed light on the issue, and to conjure up the presences of those missing women through ghostly impressions.\u003c/p>\n\u003cp>“Each time a woman or presence appears, I don’t judge whatever’s coming out,” Hinkle says. “I just do what I need to do to help them have whatever they need. Whether they want 70 legs or five breasts — I just try to make it happen.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hinkle calls her paper and ink pieces “unportraits,” meaning they’re not literal depictions of missing or trafficked women; they’re inspired by them.\u003c/p>\n\u003cfigure id=\"attachment_11650970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11650970 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-800x1334.jpg\" alt=\"\" width=\"800\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-800x1334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-160x267.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-1020x1700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-1920x3201.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-1180x1967.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-960x1600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-240x400.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-375x625.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-520x867.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Retrieval: The Evanesced: Transformer \u003ccite>(Courtesy of Kenyatta A.C. Hinkle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They’re not here for our gaze,” she says. “They’re joyful, they’re having their own moments, and the ink is like blood, just flowing onto the page.”\u003c/p>\n\u003cp>To channel the presences of her subjects, Hinkle says she danced to music from the African diaspora and used handmade brushes — sometimes “as big as her body” — built from found materials.\u003c/p>\n\u003cfigure id=\"attachment_11650971\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11650971 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-800x1403.jpg\" alt=\"\" width=\"800\" height=\"1403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-800x1403.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-160x281.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-1020x1788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-1920x3367.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-1180x2069.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-960x1683.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-240x421.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-375x658.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-520x912.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Retrieval: The Evanesced: Smoulder \u003ccite>(Courtesy of Kenyatta A.C. Hinkle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>61 unportraits line the walls of the SFAC gallery — each unique, marked by varied strokes of cloudy ink. And, as Hinkle notes, the ink — like blood — extends beyond the confines of each page, breathing a sort of collective life into her body of work.\u003c/p>\n\u003cp>“These presences, they’re uncodified,” Hinkle says. “They oscillate between flesh and not flesh. And I really wanted them to be these vessels of energy … this bursting out of certain different forms, slipping in and out, so you can’t quite pin them down.”\u003c/p>\n\u003cp>While Hinkle’s unportraits are primarily composed of black, gray and white brushstrokes, the centerpiece of the exhibition is a three-dimensional figure, coated in a vibrant, multi-colored costume.\u003c/p>\n\u003cp>It’s a healer, inspired by Hinkle’s time spent in Nigeria as part of the \u003ca href=\"https://us.fulbrightonline.org/\">Fullbright Program\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11650986\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11650986 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Retriever: Kentifrican Ashentee Healer Figure \u003ccite>(Angelica Ekeke/courtesy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I studied a lot of Nigerian sculpture and customs,” Hinkle says. “And this figure is inspired by the \u003ca href=\"https://www.youtube.com/watch?v=sCjOzZdzdi8\" target=\"_blank\" rel=\"noopener\">Engungun Masquerade of the Yoruba\u003c/a>.”\u003c/p>\n\u003cp>The figure, Hinkle says, is a protector — a living ghost of an ancestor that comes to impart wisdom and knowledge. It’s part of her ongoing “\u003ca href=\"http://www.kachstudio.com/kentifrica\">Kentifrica\u003c/a>” project, a cultural study of a contested African geography.\u003c/p>\n\u003cp>“They’re able to go into the psyche of young women and girls who are being trafficked in order to make them harder targets for manipulation,” she says. “And this figure can also get into the minds of policymakers to see what we can do about protecting these young women.”\u003c/p>\n\u003cp>The garment piece is also paired with a video (made in collaboration with Bay Area filmmaker \u003ca href=\"http://www.oneworldjournalist.com/\" target=\"_blank\" rel=\"noopener\">Angelica Ekeke\u003c/a>), projected onto a gallery wall, in which Hinkle brings the healer figure to life, wearing the colorful textiles herself.\u003c/p>\n\u003cp>In the film, a costumed Hinkle can be seen moving through some known Bay Area trafficking centers, like \u003ca href=\"https://www.eastbaytimes.com/2017/01/10/spotlight-oaklands-child-sex-trafficking-epidemic/\" target=\"_blank\" rel=\"noopener\">Oakland’s International Boulevard\u003c/a>, “activating” the spaces through ritual.\u003c/p>\n\u003cp>“We were very aware that we definitely wanted to situate this body of work within issues that were happening within this very community in San Francisco and Oakland,” Hinkle says. “So the Bay Area is very much a part of this piece.”\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11650974\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11650974 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-800x1335.jpg\" alt=\"\" width=\"800\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-800x1335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-160x267.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-1020x1702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-1920x3204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-1180x1969.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-960x1602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-240x400.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-375x626.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-520x868.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Retrieval: The Evanesced: Commander \u003ccite>(Courtesy of Kenyatta A.C. Hinkle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Retrieval” marks the first solo exhibition at the SFAC’s main gallery, which first opened its doors in January 2016.\u003c/p>\n\u003cp>“It became a solo show,” gallery director Meg Shiffler says. “I don’t know that we set out from the beginning to create a solo show with Kenyatta, but as our relationship grew, and as our understanding of the work grew, it grew into this project.”\u003c/p>\n\u003cp>Shiffler says she hopes viewers grasp the multifaceted nature of the exhibition. “We can really dig into the subject matter of the visibility and the perception of black women and the black female body,” she says. “But there is also process — and the process that Kenyatta undertakes to create this work is complex and full of joy and full of connection.”\u003c/p>\n\u003cp>And for Hinkle, that process and the subject matter are inextricably linked. By conjuring the presences of missing women through dance, ink and ritual, she hopes to inspire viewers to become agents of social change.\u003c/p>\n\u003cp>“The exhibition is a call to action,” Hinkle says. “So I really want us think about how we can all be retrievers within our communities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>“The Retrieval” is on display at the San Francisco Arts Commission Main Gallery through April 7 and is free to the public.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“How can we go from pretending this isn’t an issue to actually doing something about it?”\u003c/p>\n\u003cp>That’s the central question Oakland and Los Angeles-based artist Kenyatta A.C. Hinkle poses in “The Retrieval,” a new solo exhibition at the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission’s\u003c/a> main gallery, featuring a series of works inspired by young black women who have gone missing due to human trafficking.\u003c/p>\n\u003cp>“It’s a global issue, it’s a historical issue and it’s present issue,” Hinkle says, “And hopefully, it’s not a future issue.”\u003c/p>\n\u003cp>According to the \u003ca href=\"http://blackandmissing.org/\" target=\"_blank\" rel=\"noopener\">Black and Missing Foundation\u003c/a>, 64,000 black women were missing in the U.S. in 2014. “The Retrieval” marks an attempt to shed light on the issue, and to conjure up the presences of those missing women through ghostly impressions.\u003c/p>\n\u003cp>“Each time a woman or presence appears, I don’t judge whatever’s coming out,” Hinkle says. “I just do what I need to do to help them have whatever they need. Whether they want 70 legs or five breasts — I just try to make it happen.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hinkle calls her paper and ink pieces “unportraits,” meaning they’re not literal depictions of missing or trafficked women; they’re inspired by them.\u003c/p>\n\u003cfigure id=\"attachment_11650970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11650970 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-800x1334.jpg\" alt=\"\" width=\"800\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-800x1334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-160x267.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-1020x1700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-1920x3201.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-1180x1967.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-960x1600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-240x400.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-375x625.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Transformer-520x867.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Retrieval: The Evanesced: Transformer \u003ccite>(Courtesy of Kenyatta A.C. Hinkle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They’re not here for our gaze,” she says. “They’re joyful, they’re having their own moments, and the ink is like blood, just flowing onto the page.”\u003c/p>\n\u003cp>To channel the presences of her subjects, Hinkle says she danced to music from the African diaspora and used handmade brushes — sometimes “as big as her body” — built from found materials.\u003c/p>\n\u003cfigure id=\"attachment_11650971\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11650971 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-800x1403.jpg\" alt=\"\" width=\"800\" height=\"1403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-800x1403.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-160x281.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-1020x1788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-1920x3367.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-1180x2069.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-960x1683.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-240x421.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-375x658.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Smoulder-520x912.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Retrieval: The Evanesced: Smoulder \u003ccite>(Courtesy of Kenyatta A.C. Hinkle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>61 unportraits line the walls of the SFAC gallery — each unique, marked by varied strokes of cloudy ink. And, as Hinkle notes, the ink — like blood — extends beyond the confines of each page, breathing a sort of collective life into her body of work.\u003c/p>\n\u003cp>“These presences, they’re uncodified,” Hinkle says. “They oscillate between flesh and not flesh. And I really wanted them to be these vessels of energy … this bursting out of certain different forms, slipping in and out, so you can’t quite pin them down.”\u003c/p>\n\u003cp>While Hinkle’s unportraits are primarily composed of black, gray and white brushstrokes, the centerpiece of the exhibition is a three-dimensional figure, coated in a vibrant, multi-colored costume.\u003c/p>\n\u003cp>It’s a healer, inspired by Hinkle’s time spent in Nigeria as part of the \u003ca href=\"https://us.fulbrightonline.org/\">Fullbright Program\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11650986\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11650986 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Kenyatta_Retrieval-2-of-11-1-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Retriever: Kentifrican Ashentee Healer Figure \u003ccite>(Angelica Ekeke/courtesy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I studied a lot of Nigerian sculpture and customs,” Hinkle says. “And this figure is inspired by the \u003ca href=\"https://www.youtube.com/watch?v=sCjOzZdzdi8\" target=\"_blank\" rel=\"noopener\">Engungun Masquerade of the Yoruba\u003c/a>.”\u003c/p>\n\u003cp>The figure, Hinkle says, is a protector — a living ghost of an ancestor that comes to impart wisdom and knowledge. It’s part of her ongoing “\u003ca href=\"http://www.kachstudio.com/kentifrica\">Kentifrica\u003c/a>” project, a cultural study of a contested African geography.\u003c/p>\n\u003cp>“They’re able to go into the psyche of young women and girls who are being trafficked in order to make them harder targets for manipulation,” she says. “And this figure can also get into the minds of policymakers to see what we can do about protecting these young women.”\u003c/p>\n\u003cp>The garment piece is also paired with a video (made in collaboration with Bay Area filmmaker \u003ca href=\"http://www.oneworldjournalist.com/\" target=\"_blank\" rel=\"noopener\">Angelica Ekeke\u003c/a>), projected onto a gallery wall, in which Hinkle brings the healer figure to life, wearing the colorful textiles herself.\u003c/p>\n\u003cp>In the film, a costumed Hinkle can be seen moving through some known Bay Area trafficking centers, like \u003ca href=\"https://www.eastbaytimes.com/2017/01/10/spotlight-oaklands-child-sex-trafficking-epidemic/\" target=\"_blank\" rel=\"noopener\">Oakland’s International Boulevard\u003c/a>, “activating” the spaces through ritual.\u003c/p>\n\u003cp>“We were very aware that we definitely wanted to situate this body of work within issues that were happening within this very community in San Francisco and Oakland,” Hinkle says. “So the Bay Area is very much a part of this piece.”\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11650974\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11650974 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-800x1335.jpg\" alt=\"\" width=\"800\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-800x1335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-160x267.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-1020x1702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-1920x3204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-1180x1969.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-960x1602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-240x400.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-375x626.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/The-Evanesced-Commander-520x868.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Retrieval: The Evanesced: Commander \u003ccite>(Courtesy of Kenyatta A.C. Hinkle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Retrieval” marks the first solo exhibition at the SFAC’s main gallery, which first opened its doors in January 2016.\u003c/p>\n\u003cp>“It became a solo show,” gallery director Meg Shiffler says. “I don’t know that we set out from the beginning to create a solo show with Kenyatta, but as our relationship grew, and as our understanding of the work grew, it grew into this project.”\u003c/p>\n\u003cp>Shiffler says she hopes viewers grasp the multifaceted nature of the exhibition. “We can really dig into the subject matter of the visibility and the perception of black women and the black female body,” she says. “But there is also process — and the process that Kenyatta undertakes to create this work is complex and full of joy and full of connection.”\u003c/p>\n\u003cp>And for Hinkle, that process and the subject matter are inextricably linked. By conjuring the presences of missing women through dance, ink and ritual, she hopes to inspire viewers to become agents of social change.\u003c/p>\n\u003cp>“The exhibition is a call to action,” Hinkle says. “So I really want us think about how we can all be retrievers within our communities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>“The Retrieval” is on display at the San Francisco Arts Commission Main Gallery through April 7 and is free to the public.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: Celebrating the Vietnamese New Year in San Jose",
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"content": "\u003cp>Lunar New Year may have been yesterday, but celebrations ringing in the Year of the Dog are just getting started around the Bay Area.\u003c/p>\n\u003cp>This weekend, the \u003ca href=\"https://www.facebook.com/events/1642131902513298/\" target=\"_blank\" rel=\"noopener\">San Jose Tet Festival at the Eastridge Mall\u003c/a> celebrates the Vietnamese New Year.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The Tet festival is the most significant holiday in our culture,” said event organizer Tony Saemai. “It’s the equivalent of Christmas in America, in the sense that it’s time for family friends and loved ones.”\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/GuyMarzorati/status/964974063062937600\u003c/p>\n\u003cp>The event is family-oriented and includes food, carnival rides and performances. A major attraction is the lion dance, which involves multiple performers coordinating in one costume. Red envelopes with cash are typically given out to children as a sign of good luck.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We don’t celebrate the American new year like we do the Vietnamese new year,” said Linda Tran, who came from Hayward with her two sons. “That’s with friends, this is more for family and friends.” \u003c/span>\u003c/p>\n\u003cp>https://twitter.com/GuyMarzorati/status/964980405714657280\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of the President’s Day holiday on Monday, organizers say they expect between 30,000 and 50,000 visitors this weekend.\u003c/p>\n\u003cfigure id=\"attachment_11650866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650866\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-800x600.jpg\" alt=\"The San Jose Tet Festival featured performances. Above, a traditional Vietnamese dance symbolizing the mother-daughter relationship was put on by performers with Viet Entertainment. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Jose Tet Festival featured many performances. Above, a traditional Vietnamese dance symbolizing the mother-daughter relationship was put on by performers with Viet Entertainment. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11650865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650865\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-800x600.jpg\" alt=\"Lanterns were one of the many items being sold by vendors at the festival. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lanterns were one of the many items being sold by vendors at the festival. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11650864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650864\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-800x600.jpg\" alt=\"Spin drums were being sold by a vendor at the Tet Festival. The New Year celebration is family-focused, so there were activities and items for people of all ages. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spin drums were being sold by a vendor at the Tet Festival. The New Year celebration is family-focused, so there were activities and items for people of all ages. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11650883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650883\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-800x600.jpg\" alt=\"The lion dance and dragon dances was one of the highlights of the event, with multiple performers in each costume coordinating to move around the crowd. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lion dance and dragon dances were one of the highlights of the event, with multiple performers in each costume coordinating to move around the crowd. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11650868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650868\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-800x600.jpg\" alt=\"The Miss Vietnam California contestants took to the stage at the Tet Festival. The organization is one of many that came together to put on this free community event. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Miss Vietnam California contestants took to the stage at the Tet Festival. The organization is one of many that came together to put on this free community event. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lunar New Year may have been yesterday, but celebrations ringing in the Year of the Dog are just getting started around the Bay Area.\u003c/p>\n\u003cp>This weekend, the \u003ca href=\"https://www.facebook.com/events/1642131902513298/\" target=\"_blank\" rel=\"noopener\">San Jose Tet Festival at the Eastridge Mall\u003c/a> celebrates the Vietnamese New Year.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The Tet festival is the most significant holiday in our culture,” said event organizer Tony Saemai. “It’s the equivalent of Christmas in America, in the sense that it’s time for family friends and loved ones.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The event is family-oriented and includes food, carnival rides and performances. A major attraction is the lion dance, which involves multiple performers coordinating in one costume. Red envelopes with cash are typically given out to children as a sign of good luck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We don’t celebrate the American new year like we do the Vietnamese new year,” said Linda Tran, who came from Hayward with her two sons. “That’s with friends, this is more for family and friends.” \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>Because of the President’s Day holiday on Monday, organizers say they expect between 30,000 and 50,000 visitors this weekend.\u003c/p>\n\u003cfigure id=\"attachment_11650866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650866\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-800x600.jpg\" alt=\"The San Jose Tet Festival featured performances. Above, a traditional Vietnamese dance symbolizing the mother-daughter relationship was put on by performers with Viet Entertainment. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-19-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Jose Tet Festival featured many performances. Above, a traditional Vietnamese dance symbolizing the mother-daughter relationship was put on by performers with Viet Entertainment. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11650865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650865\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-800x600.jpg\" alt=\"Lanterns were one of the many items being sold by vendors at the festival. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-18-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lanterns were one of the many items being sold by vendors at the festival. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11650864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650864\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-800x600.jpg\" alt=\"Spin drums were being sold by a vendor at the Tet Festival. The New Year celebration is family-focused, so there were activities and items for people of all ages. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-17-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spin drums were being sold by a vendor at the Tet Festival. The New Year celebration is family-focused, so there were activities and items for people of all ages. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11650883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650883\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-800x600.jpg\" alt=\"The lion dance and dragon dances was one of the highlights of the event, with multiple performers in each costume coordinating to move around the crowd. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-22-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lion dance and dragon dances were one of the highlights of the event, with multiple performers in each costume coordinating to move around the crowd. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11650868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650868\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-800x600.jpg\" alt=\"The Miss Vietnam California contestants took to the stage at the Tet Festival. The organization is one of many that came together to put on this free community event. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/Image-uploaded-from-iOS-21-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Miss Vietnam California contestants took to the stage at the Tet Festival. The organization is one of many that came together to put on this free community event. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "San Jose Rubber Puckies? How the Sharks Became the Sharks",
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"content": "\u003cp>Professional hockey in Northern California seemed like a pretty kooky idea back in 1990 when the National Hockey League, or the NHL, awarded San Jose an expansion team to start play the following year.\u003cbr>\n[baycuriouspodcastinfo]\u003cbr>\n“Wall Street Journal, Business Week, New York Times, ESPN, CBS started calling and saying, ‘God, hockey in California? In Northern California?'” said Matt Levine, the franchise’s second employee ever.\u003c/p>\n\u003cp>He was responsible for all business and marketing operations, and first among those was coming up with a name for the team.\u003c/p>\n\u003cfigure id=\"attachment_11650907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11650907\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-800x600.jpg\" alt=\"Matt Levine was the second employee of the San Jose Sharks. He developed and executed the strategy that eventually landed on "Sharks" as the team's name.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt Levine was the second employee of the San Jose Sharks. He developed and executed the strategy that eventually landed on “Sharks” as the team’s name. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levine and his team came up with six criteria that any team name would have to meet:\u003c/p>\n\u003cul>\n\u003cli>Had to have a regional connection\u003c/li>\n\u003cli>Had to be a unique name in all of sports\u003c/li>\n\u003cli>Had to be emotionally charged and exciting\u003c/li>\n\u003cli>Had to lend itself to “imaginative graphic interpretation”\u003c/li>\n\u003cli>Had to suggest qualities you’d want in a hockey player and team\u003c/li>\n\u003cli>Could not be shortened in a headline\u003c/li>\n\u003c/ul>\n\u003cp>Those criteria produced 200 names internally, including Blades, Sharks, Stingrays and several names with the prefix “cyber” in homage to Silicon Valley and the nascent tech industry. But the team decided to widen the net and hold a “name the team” sweepstakes.\u003c/p>\n\u003cfigure id=\"attachment_11650900\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11650900\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-800x1279.jpg\" alt=\"This ad ran in the San Francisco Chronicle, Oakland Tribune and San Jose Mercury News as part of the name the team sweepstakes.\" width=\"800\" height=\"1279\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-800x1279.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-160x256.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-1020x1630.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-1180x1886.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-960x1534.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-240x384.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-375x599.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-520x831.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134.jpg 1210w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This ad ran in the San Francisco Chronicle, Oakland Tribune and San Jose Mercury News as part of the “name the team” sweepstakes. \u003ccite>(Matt Levine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levine put a simple ad in these three local newspapers: The San Francisco Chronicle, the Oakland Tribune and the San Jose Mercury News.\u003c/p>\n\u003cp>“The responses started coming in and they were the wildest of names,” Levine said.\u003c/p>\n\u003cp>The team received around 6,000 responses from around the world with more than 2,300 different name suggestions including Saddlesores, Integrated Circuits, Rubber Puckies, Screaming Squids and Salty Dogs. Someone even suggested calling them the Cansecos after then-Oakland A’s slugger Jose Canseco.\u003c/p>\n\u003cp>“There was a young man up in Vancouver B.C. who submitted 250 names, and he said one of these names has to be the one you’re going to select,” Levine said with a laugh.\u003c/p>\n\u003cp>The top 15 suggestions, in alphabetical order, were: Blades, Breakers, Breeze, Condors, Fog, Gold, Golden Gaters, Golden Skaters, Grizzlies, Icebreakers, Knights, Redwoods, Sea Lions, Sharks and Waves.\u003c/p>\n\u003cp>The most common name suggested was the Blades, but it didn’t fit Levine’s criteria. It wasn’t that exciting, and they found in focus groups that people associated it more with gangs than with ice skating. So they moved onto the second most suggested name: Sharks.\u003c/p>\n\u003cp>With an exciting name in tow, now it was time to work on a logo.\u003cbr>\n[baycuriousbug]\u003cbr>\nWorking with a graphic designer, Levine and the team came up with the concept of a Shark coming out of a triangle. That’s when Levine remembered that the Bay Area is part of the so-called Red Triangle that is home to a high number of great white sharks.\u003c/p>\n\u003cp>“So all of a sudden the shark, the triangle had a reason,” Levine said, “and we can have the shark coming out of the triangle.” As an added bonus, the triangle could also represent the three largest cities in the Bay Area: San Jose, San Francisco and Oakland.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LMIb7fMQ768\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Professional hockey in Northern California seemed like a pretty kooky idea back in 1990 when the National Hockey League, or the NHL, awarded San Jose an expansion team to start play the following year.\u003cbr>\n\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003cbr>\n“Wall Street Journal, Business Week, New York Times, ESPN, CBS started calling and saying, ‘God, hockey in California? In Northern California?'” said Matt Levine, the franchise’s second employee ever.\u003c/p>\n\u003cp>He was responsible for all business and marketing operations, and first among those was coming up with a name for the team.\u003c/p>\n\u003cfigure id=\"attachment_11650907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11650907\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-800x600.jpg\" alt=\"Matt Levine was the second employee of the San Jose Sharks. He developed and executed the strategy that eventually landed on "Sharks" as the team's name.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29378_Image-uploaded-from-iOS-56-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt Levine was the second employee of the San Jose Sharks. He developed and executed the strategy that eventually landed on “Sharks” as the team’s name. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levine and his team came up with six criteria that any team name would have to meet:\u003c/p>\n\u003cul>\n\u003cli>Had to have a regional connection\u003c/li>\n\u003cli>Had to be a unique name in all of sports\u003c/li>\n\u003cli>Had to be emotionally charged and exciting\u003c/li>\n\u003cli>Had to lend itself to “imaginative graphic interpretation”\u003c/li>\n\u003cli>Had to suggest qualities you’d want in a hockey player and team\u003c/li>\n\u003cli>Could not be shortened in a headline\u003c/li>\n\u003c/ul>\n\u003cp>Those criteria produced 200 names internally, including Blades, Sharks, Stingrays and several names with the prefix “cyber” in homage to Silicon Valley and the nascent tech industry. But the team decided to widen the net and hold a “name the team” sweepstakes.\u003c/p>\n\u003cfigure id=\"attachment_11650900\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11650900\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-800x1279.jpg\" alt=\"This ad ran in the San Francisco Chronicle, Oakland Tribune and San Jose Mercury News as part of the name the team sweepstakes.\" width=\"800\" height=\"1279\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-800x1279.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-160x256.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-1020x1630.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-1180x1886.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-960x1534.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-240x384.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-375x599.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134-520x831.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/RS29486_alt_688-e1518909045134.jpg 1210w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This ad ran in the San Francisco Chronicle, Oakland Tribune and San Jose Mercury News as part of the “name the team” sweepstakes. \u003ccite>(Matt Levine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levine put a simple ad in these three local newspapers: The San Francisco Chronicle, the Oakland Tribune and the San Jose Mercury News.\u003c/p>\n\u003cp>“The responses started coming in and they were the wildest of names,” Levine said.\u003c/p>\n\u003cp>The team received around 6,000 responses from around the world with more than 2,300 different name suggestions including Saddlesores, Integrated Circuits, Rubber Puckies, Screaming Squids and Salty Dogs. Someone even suggested calling them the Cansecos after then-Oakland A’s slugger Jose Canseco.\u003c/p>\n\u003cp>“There was a young man up in Vancouver B.C. who submitted 250 names, and he said one of these names has to be the one you’re going to select,” Levine said with a laugh.\u003c/p>\n\u003cp>The top 15 suggestions, in alphabetical order, were: Blades, Breakers, Breeze, Condors, Fog, Gold, Golden Gaters, Golden Skaters, Grizzlies, Icebreakers, Knights, Redwoods, Sea Lions, Sharks and Waves.\u003c/p>\n\u003cp>The most common name suggested was the Blades, but it didn’t fit Levine’s criteria. It wasn’t that exciting, and they found in focus groups that people associated it more with gangs than with ice skating. So they moved onto the second most suggested name: Sharks.\u003c/p>\n\u003cp>With an exciting name in tow, now it was time to work on a logo.\u003cbr>\n\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003cbr>\nWorking with a graphic designer, Levine and the team came up with the concept of a Shark coming out of a triangle. That’s when Levine remembered that the Bay Area is part of the so-called Red Triangle that is home to a high number of great white sharks.\u003c/p>\n\u003cp>“So all of a sudden the shark, the triangle had a reason,” Levine said, “and we can have the shark coming out of the triangle.” As an added bonus, the triangle could also represent the three largest cities in the Bay Area: San Jose, San Francisco and Oakland.\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/LMIb7fMQ768'\n title='//www.youtube.com/embed/LMIb7fMQ768'\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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"slug": "if-you-hella-love-oakland-youll-hella-love-black-panther",
"title": "If You Hella Love Oakland, You'll Hella Love 'Black Panther'",
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"headTitle": "If You Hella Love Oakland, You’ll Hella Love ‘Black Panther’ | KQED",
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"content": "\u003cp>\u003cem>Stay caught up with the best of KQED’s reporting each week by subscribing to the \u003ca href=\"https://itunes.apple.com/us/podcast/qed-up/id1197721799?mt=2\" rel=\"noopener\" target=\"_blank\">Q’ed Up podcast\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>It’s been a week: plenty of Olympic excitement in South Korea, more inaction from Congress on immigration and another horrific school shooting.\u003c/p>\n\u003cp>So what else happened?\u003c/p>\n\u003ch3>1. \u003ca href=\"https://ww2.kqed.org/news/2018/02/16/oaklands-two-black-panthers-the-movie-and-the-movement/\" target=\"_blank\" rel=\"noopener\">The new ‘Black Panther’ movie has all the Oakland feels\u003c/a>\u003c/h3>\n\u003cp>https://twitter.com/peterhartlaub/status/964385897750790146\u003c/p>\n\u003cp>I saw ‘Black Panther’ on Thursday night in Redwood City, and I’m more than a little jealous of the folks who saw it across the bay at Oakland’s Grand Lake Theater who got a \u003ca href=\"https://www.sfchronicle.com/movies/article/Black-Panther-director-Ryan-Coogler-jets-to-12618546.php\" target=\"_blank\" rel=\"noopener\">surprise appearance\u003c/a> by director and Oakland native Ryan Coogler.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was already hyped for ‘Black Panther,’ but I got even more jazzed after hearing \u003ca href=\"https://ww2.kqed.org/news/2018/02/16/oaklands-two-black-panthers-the-movie-and-the-movement/\" target=\"_blank\" rel=\"noopener\">this amazing piece\u003c/a> from KQED’s Sandhya Dirks about the connection between the Black Panther superhero and the Black Panther Party, which was founded in Oakland just months after the first Black Panther comic came out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xjDjIWPwcPU\u003c/p>\n\u003cp>I am not an Oakland native or resident, but I definitely felt a well of pride and emotion when the film’s first scene opened on the streets of Oakland.\u003c/p>\n\u003ch3>2. \u003ca href=\"https://ww2.kqed.org/news/2018/02/14/meet-the-olympic-bobsledding-soldier-from-monterey/\" target=\"_blank\" rel=\"noopener\">Your country needs YOU… to go to the Olympics\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11650135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/BobsledderC.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650135\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/BobsledderC-800x537.jpg\" alt=\"United States Bobsled team member Nick Cunningham, of Monterey.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">United States Bobsled team member Nick Cunningham, of Monterey. \u003ccite>(Marianna Massey/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How many of us have told ourselves we need to push ourselves out of our comfort zones? How many of us actually do it?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2018/02/14/meet-the-olympic-bobsledding-soldier-from-monterey/\" target=\"_blank\" rel=\"noopener\">Nick Cunningham did it\u003c/a>. The Monterey native always wanted to go to the Olympics, so when he graduated college, he decided to try out for the U.S. bobsled team.\u003c/p>\n\u003cblockquote>\u003cp>“I figured it would be a graduation gift for myself to kind of do something outside the box, outside my comfort zone. Just try something none of my friends could ever say that they tried out for and so I went and tried out. And 18 months later, I went to my first Olympics,” said Cunningham.\u003c/p>\u003c/blockquote>\n\u003cp>Now he’s in the U.S. Army as part of the \u003ca href=\"https://www.armymwr.com/programs-and-services/world-class-athlete-program/about\" target=\"_blank\" rel=\"noopener\">World Class Athlete Program\u003c/a>, which literally pays elite soldier-athletes to train for the Olympics. Not a bad gig.\u003c/p>\n\u003ch3>3. \u003ca href=\"https://ww2.kqed.org/news/2018/02/15/car-breaks-ins-are-up-in-san-francisco-whats-being-done/\" target=\"_blank\" rel=\"noopener\">Tips from the police and a pro: How to protect your car from a break-in\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11649741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11649741\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-800x654.jpg\" alt=\"A car parked in the Temescal Neighborhood of Oakland, Calif. with a sign asking for a car thief to return a sweater.\" width=\"800\" height=\"654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-800x654.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-1020x834.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-1180x965.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-960x785.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651.jpg 1219w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A car parked in the Temescal neighborhood of Oakland, Calif. with a sign asking for a car thief to return a dog sweater. \u003ccite>(Sarah Craig/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week’s \u003ca href=\"http://ww2.kqed.org/news/series/baycurious/\" target=\"_blank\" rel=\"noopener\">Bay Curious podcast\u003c/a> dives into the car break-in epidemic that is gripping San Francisco. Car break-ins in the city are up about \u003ca href=\"https://ww2.kqed.org/news/2018/02/15/car-breaks-ins-are-up-in-san-francisco-whats-being-done/\" target=\"_blank\" rel=\"noopener\">300 percent\u003c/a> since 2010.\u003c/p>\n\u003cp>What I loved about this story is we get to see both sides of the coin: reporter Sarah Craig goes on a ride-along with an undercover cop on patrol for car break-ins, and she talks to a 30-year veteran car burglar who gives her tips on how to avoid coming back to a broken window with all your stuff gone.\u003c/p>\n\u003ch3>4. \u003ca href=\"https://ww2.kqed.org/news/2018/02/15/amanda-renteria-for-governor-a-candidacy-generating-more-questions-than-answers/\" target=\"_blank\" rel=\"noopener\">Apparently there’s a new candidate for governor?\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11650373\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/renteria.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650373\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/renteria-800x428.jpg\" alt=\"\" width=\"800\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-800x428.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-1020x546.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-1180x632.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-960x514.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-520x278.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria.jpg 1195w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amanda Renteria discusses her campaign for Congress with 23 ABC News in May 2014. \u003ccite>(23 ABC News via YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I instinctively thought it was weird when I saw that Amanda Renteria, a former top Hillary Clinton aide, had filed to run for governor this week. But it only became more strange when I read \u003ca href=\"https://ww2.kqed.org/news/2018/02/15/amanda-renteria-for-governor-a-candidacy-generating-more-questions-than-answers/\" target=\"_blank\" rel=\"noopener\">this piece\u003c/a> from KQED’s politics maestro Scott Shafer.\u003c/p>\n\u003cul>\n\u003cli>Renteria ditched her current boss, California Attorney General Xavier Becerrea, to run for the job above him.\u003c/li>\n\u003cli>She had no video announcement or big event to get attention for her candidacy.\u003c/li>\n\u003cli>The state Democratic convention is literally next week, and she won’t have a spot there because she filed so late.\u003c/li>\n\u003cli>Four months out from the June primary, she’s got no money, little to no name recognition with voters, no endorsements and no clear path to victory.\u003c/li>\n\u003c/ul>\n\u003cp>Politics is a strange world.\u003c/p>\n\u003ch3>5. \u003ca href=\"https://ww2.kqed.org/news/2018/02/12/san-jose-lets-residents-try-their-hand-at-balancing-the-city-budget/\" target=\"_blank\" rel=\"noopener\">Want your city to have a balanced budget? Why don’t you do it?\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11649457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11649457\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-800x517.jpg\" alt=\"A screen shot from a website set up by San Jose using the Balancing Act program to allow residents to try and balance the city's budget. There is also a mechanism for residents to provide input to the city on how they want city funds spent.\" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-1180x762.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-960x620.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-520x336.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A screen shot from a website set up by San Jose using the Balancing Act program to allow residents to try and balance the city’s budget. There is also a mechanism for residents to provide input to the city on how they want city funds spent. \u003ccite>(Balancing Act)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I am terrible at sticking to budgets. Every few months, I sit down and make a list of all my expenses and tell myself I’m going to keep track of what I spend. And then I don’t.\u003c/p>\n\u003cp>So I was doomed to fail when I tried San Jose’s \u003ca href=\"https://ww2.kqed.org/news/2018/02/12/san-jose-lets-residents-try-their-hand-at-balancing-the-city-budget/\" target=\"_blank\" rel=\"noopener\">new budgeting website\u003c/a> where residents (and bored journalists) can try their hand at balancing the budget of the Bay Area’s largest city. Spoiler: it’s really freaking hard.\u003c/p>\n\u003cp>But I think it’s a fascinating tool for both understanding the difficult decisions city leaders have to make to balance their budgets and for residents to be able to tell city leaders how they want the city’s money spent.\u003c/p>\n\u003ch1>\u003ca href=\"https://ww2.kqed.org/news/2018/02/15/new-documentary-looks-back-at-sf-state-strike-on-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Before you go… \u003c/a>\u003c/h1>\n\u003cp>Fifty years ago, students at what is now San Francisco State University staged a \u003ca href=\"https://ww2.kqed.org/news/2018/02/15/new-documentary-looks-back-at-sf-state-strike-on-50th-anniversary/\" rel=\"noopener\" target=\"_blank\">115-day campus strike\u003c/a> that led to the creation of San Francisco State’s College of Ethnic Studies and sparked a nationwide movement to increase minority access and representation on college campuses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=As_P3DueKrY&t\u003c/p>\n\n",
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"excerpt": "The indelible bond between Oakland and the Black Panther. Plus weird California politics and a car burglar's tips on how to avoid a car break-in.",
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"title": "If You Hella Love Oakland, You'll Hella Love 'Black Panther' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Stay caught up with the best of KQED’s reporting each week by subscribing to the \u003ca href=\"https://itunes.apple.com/us/podcast/qed-up/id1197721799?mt=2\" rel=\"noopener\" target=\"_blank\">Q’ed Up podcast\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>It’s been a week: plenty of Olympic excitement in South Korea, more inaction from Congress on immigration and another horrific school shooting.\u003c/p>\n\u003cp>So what else happened?\u003c/p>\n\u003ch3>1. \u003ca href=\"https://ww2.kqed.org/news/2018/02/16/oaklands-two-black-panthers-the-movie-and-the-movement/\" target=\"_blank\" rel=\"noopener\">The new ‘Black Panther’ movie has all the Oakland feels\u003c/a>\u003c/h3>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I saw ‘Black Panther’ on Thursday night in Redwood City, and I’m more than a little jealous of the folks who saw it across the bay at Oakland’s Grand Lake Theater who got a \u003ca href=\"https://www.sfchronicle.com/movies/article/Black-Panther-director-Ryan-Coogler-jets-to-12618546.php\" target=\"_blank\" rel=\"noopener\">surprise appearance\u003c/a> by director and Oakland native Ryan Coogler.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I was already hyped for ‘Black Panther,’ but I got even more jazzed after hearing \u003ca href=\"https://ww2.kqed.org/news/2018/02/16/oaklands-two-black-panthers-the-movie-and-the-movement/\" target=\"_blank\" rel=\"noopener\">this amazing piece\u003c/a> from KQED’s Sandhya Dirks about the connection between the Black Panther superhero and the Black Panther Party, which was founded in Oakland just months after the first Black Panther comic came out.\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/xjDjIWPwcPU'\n title='//www.youtube.com/embed/xjDjIWPwcPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I am not an Oakland native or resident, but I definitely felt a well of pride and emotion when the film’s first scene opened on the streets of Oakland.\u003c/p>\n\u003ch3>2. \u003ca href=\"https://ww2.kqed.org/news/2018/02/14/meet-the-olympic-bobsledding-soldier-from-monterey/\" target=\"_blank\" rel=\"noopener\">Your country needs YOU… to go to the Olympics\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11650135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/BobsledderC.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650135\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/BobsledderC-800x537.jpg\" alt=\"United States Bobsled team member Nick Cunningham, of Monterey.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/BobsledderC-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">United States Bobsled team member Nick Cunningham, of Monterey. \u003ccite>(Marianna Massey/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How many of us have told ourselves we need to push ourselves out of our comfort zones? How many of us actually do it?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2018/02/14/meet-the-olympic-bobsledding-soldier-from-monterey/\" target=\"_blank\" rel=\"noopener\">Nick Cunningham did it\u003c/a>. The Monterey native always wanted to go to the Olympics, so when he graduated college, he decided to try out for the U.S. bobsled team.\u003c/p>\n\u003cblockquote>\u003cp>“I figured it would be a graduation gift for myself to kind of do something outside the box, outside my comfort zone. Just try something none of my friends could ever say that they tried out for and so I went and tried out. And 18 months later, I went to my first Olympics,” said Cunningham.\u003c/p>\u003c/blockquote>\n\u003cp>Now he’s in the U.S. Army as part of the \u003ca href=\"https://www.armymwr.com/programs-and-services/world-class-athlete-program/about\" target=\"_blank\" rel=\"noopener\">World Class Athlete Program\u003c/a>, which literally pays elite soldier-athletes to train for the Olympics. Not a bad gig.\u003c/p>\n\u003ch3>3. \u003ca href=\"https://ww2.kqed.org/news/2018/02/15/car-breaks-ins-are-up-in-san-francisco-whats-being-done/\" target=\"_blank\" rel=\"noopener\">Tips from the police and a pro: How to protect your car from a break-in\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11649741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11649741\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-800x654.jpg\" alt=\"A car parked in the Temescal Neighborhood of Oakland, Calif. with a sign asking for a car thief to return a sweater.\" width=\"800\" height=\"654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-800x654.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-1020x834.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-1180x965.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-960x785.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/IMG_0789-e1518543410651.jpg 1219w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A car parked in the Temescal neighborhood of Oakland, Calif. with a sign asking for a car thief to return a dog sweater. \u003ccite>(Sarah Craig/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week’s \u003ca href=\"http://ww2.kqed.org/news/series/baycurious/\" target=\"_blank\" rel=\"noopener\">Bay Curious podcast\u003c/a> dives into the car break-in epidemic that is gripping San Francisco. Car break-ins in the city are up about \u003ca href=\"https://ww2.kqed.org/news/2018/02/15/car-breaks-ins-are-up-in-san-francisco-whats-being-done/\" target=\"_blank\" rel=\"noopener\">300 percent\u003c/a> since 2010.\u003c/p>\n\u003cp>What I loved about this story is we get to see both sides of the coin: reporter Sarah Craig goes on a ride-along with an undercover cop on patrol for car break-ins, and she talks to a 30-year veteran car burglar who gives her tips on how to avoid coming back to a broken window with all your stuff gone.\u003c/p>\n\u003ch3>4. \u003ca href=\"https://ww2.kqed.org/news/2018/02/15/amanda-renteria-for-governor-a-candidacy-generating-more-questions-than-answers/\" target=\"_blank\" rel=\"noopener\">Apparently there’s a new candidate for governor?\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11650373\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/renteria.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650373\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/renteria-800x428.jpg\" alt=\"\" width=\"800\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-800x428.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-1020x546.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-1180x632.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-960x514.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria-520x278.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/renteria.jpg 1195w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amanda Renteria discusses her campaign for Congress with 23 ABC News in May 2014. \u003ccite>(23 ABC News via YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I instinctively thought it was weird when I saw that Amanda Renteria, a former top Hillary Clinton aide, had filed to run for governor this week. But it only became more strange when I read \u003ca href=\"https://ww2.kqed.org/news/2018/02/15/amanda-renteria-for-governor-a-candidacy-generating-more-questions-than-answers/\" target=\"_blank\" rel=\"noopener\">this piece\u003c/a> from KQED’s politics maestro Scott Shafer.\u003c/p>\n\u003cul>\n\u003cli>Renteria ditched her current boss, California Attorney General Xavier Becerrea, to run for the job above him.\u003c/li>\n\u003cli>She had no video announcement or big event to get attention for her candidacy.\u003c/li>\n\u003cli>The state Democratic convention is literally next week, and she won’t have a spot there because she filed so late.\u003c/li>\n\u003cli>Four months out from the June primary, she’s got no money, little to no name recognition with voters, no endorsements and no clear path to victory.\u003c/li>\n\u003c/ul>\n\u003cp>Politics is a strange world.\u003c/p>\n\u003ch3>5. \u003ca href=\"https://ww2.kqed.org/news/2018/02/12/san-jose-lets-residents-try-their-hand-at-balancing-the-city-budget/\" target=\"_blank\" rel=\"noopener\">Want your city to have a balanced budget? Why don’t you do it?\u003c/a>\u003c/h3>\n\u003cfigure id=\"attachment_11649457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11649457\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-800x517.jpg\" alt=\"A screen shot from a website set up by San Jose using the Balancing Act program to allow residents to try and balance the city's budget. There is also a mechanism for residents to provide input to the city on how they want city funds spent.\" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-1180x762.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-960x620.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29376_Screen-Shot-2018-02-11-at-5.51.10-PM-qut-520x336.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A screen shot from a website set up by San Jose using the Balancing Act program to allow residents to try and balance the city’s budget. There is also a mechanism for residents to provide input to the city on how they want city funds spent. \u003ccite>(Balancing Act)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I am terrible at sticking to budgets. Every few months, I sit down and make a list of all my expenses and tell myself I’m going to keep track of what I spend. And then I don’t.\u003c/p>\n\u003cp>So I was doomed to fail when I tried San Jose’s \u003ca href=\"https://ww2.kqed.org/news/2018/02/12/san-jose-lets-residents-try-their-hand-at-balancing-the-city-budget/\" target=\"_blank\" rel=\"noopener\">new budgeting website\u003c/a> where residents (and bored journalists) can try their hand at balancing the budget of the Bay Area’s largest city. Spoiler: it’s really freaking hard.\u003c/p>\n\u003cp>But I think it’s a fascinating tool for both understanding the difficult decisions city leaders have to make to balance their budgets and for residents to be able to tell city leaders how they want the city’s money spent.\u003c/p>\n\u003ch1>\u003ca href=\"https://ww2.kqed.org/news/2018/02/15/new-documentary-looks-back-at-sf-state-strike-on-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Before you go… \u003c/a>\u003c/h1>\n\u003cp>Fifty years ago, students at what is now San Francisco State University staged a \u003ca href=\"https://ww2.kqed.org/news/2018/02/15/new-documentary-looks-back-at-sf-state-strike-on-50th-anniversary/\" rel=\"noopener\" target=\"_blank\">115-day campus strike\u003c/a> that led to the creation of San Francisco State’s College of Ethnic Studies and sparked a nationwide movement to increase minority access and representation on college campuses.\u003c/p>\n\u003cp>\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/As_P3DueKrY'\n title='//www.youtube.com/embed/As_P3DueKrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Unapologetic and proud. Those are just a few words that come to mind when you hear spoken word artist and activist Sonya Renee Taylor perform, especially when she explores themes like self-image, body shame, and radical self-love. She spoke with the California Report Magazine’s host, Sasha Khokha, about her new book, The Body is Not an Apology: The Power of Radical Self-Love.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On an epiphany she had after taking a picture of herself that she was reluctant to post on social media:\u003c/strong>\u003c/p>\n\u003cp>“I’m wearing a black corset. It was me in my skivvies. There was this internal dialogue happening inside of me. Part of me felt beautiful in the selfie I had taken. And then there was the internal chatter about what the external world would say.”\u003c/p>\n\u003cfigure id=\"attachment_11650449\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650449\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonya Renee Taylor’s “The Body is Not an Apology” movement began with a selfie she took in 2011. At first, she was too afraid to post it on social media. \u003ccite>(Courtesy of Sonya Renee Taylor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So [six months later], I posted the photo, and I wrote, ‘in this photo, I’m 230 pounds. I have a really bad tattoo and stretch marks, and I feel beautiful in my body. Post a photo where you feel beautiful in your body.’ The next morning, 30 people had tagged me in photos. And I thought, maybe we need a place where we can celebrate ourselves. Maybe we need a place where we are allowed to feel unapologetically powerful and beautiful in our bodies.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On body shame, which often starts in childhood:\u003c/strong>\u003c/p>\n\u003cp>“I was teased unmercifully as a little girl because I developed traction alopecia in third grade. It’s permanent hair damage and hair balding from stress on the hair follicles, from my mother braiding my hair very, very tightly. That made me a target. I was already living in a world that told me my short, kinky hair as a dark skinned black girl was not OK. And the little bit of not OK hair I had was also missing in some places. That shame really baked in the notion that I was inherently flawed. I wore weaves and wigs from the time I was in seventh grade until about six years ago. One day I realized, ‘I wake up every day and tell people to love themselves unapologetically, and I won’t leave my bedroom without a wig.’ I was like, ‘what’s the scariest thing I can do to get over this giant hair shame?’ Challenge the belief that I can’t be beautiful because of my hair.”\u003c/p>\n\u003cp>\u003cstrong>On her poem, The Body is Not an Apology, which later became the name of her organization and her book:\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B7lKPdh_y-8\u003c/p>\n\u003cp>“I was a slam poet with a team of folks in Knoxville, TN, competing for the Southern Fried poetry slam. I was having a conversation with one of my teammates who was afraid that she might have an unexpected pregnancy. She also has cerebral palsy. I’m kind of nosy, I get in people’s business. So I asked her what made her decide to have unprotected sex with this person that she wasn’t into in a serious way. She was transformatively vulnerable with me in sharing that her disability made it difficult for her to be sexual. She didn’t feel entitled to ask this person to use a condom. What came out of me was, ‘your body is not an apology. It’s not something you offer to someone to say sorry for my disability.’ She heard it, but I also heard it as a message I was giving myself.”\u003c/p>\n\u003cp>\u003cstrong>On the importance of radical self-love as a tool to change the world:\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11650447\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650447\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-800x862.jpg\" alt=\"\" width=\"800\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-800x862.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-160x172.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-1020x1099.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-1180x1271.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-960x1034.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-240x259.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-375x404.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-520x560.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author, activist, and spoken word artist Sonya Renee Taylor at her book launch party. \u003ccite>(Kristen Frantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I believe that the world we want to see, a world that is just, equitable, and compassionate, requires us to develop a just, equitable, and compassionate relationship with ourselves first. We can’t build externally what we can’t build internally. I hope this book connects the dots between radical self-love and the systems of oppression that we see in the world. The ways in which violence and inequity against a multitude of bodies exists. And how our individual transformation can change the world, by practicing loving ourselves.”\u003c/p>\n\u003cp>“Let’s start with a shared reality. We all have a body, and if we learn how to make peace with our bodies, and everybody else’s body, we actually have a shot at dismantling some of those systems.”\u003c/p>\n\u003cp>\u003cstrong>On taking the first step toward radical self-love of your own body:\u003c/strong>\u003c/p>\n\u003cp>“I want people to ask themselves some questions to begin the journey. We think we came up with these ideas about all the ways our bodies are wrong. ‘I hate my thighs because I hate my thighs,’ or ‘I want to bleach my skin because I want to bleach my skin.’ We haven’t interrogated who gave us the message. I was in a conversation with a friend, a tiny petite woman, who said, ‘I just hate this pooch. I just wish my stomach was flat.’ Who told you your stomach should be flat? Where did that message come from? Who’s benefiting from all the ways in which I think I’m deficient? People profit off my self-hate. Let’s start investigating the things I’ve been told about my body.”\u003c/p>\n\u003cp>\u003cstrong>On the #Me Too Movement:\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We can’t talk about #MeToo without talking about the ways in which society says women’s bodies should be treated. The messages we give men about what to expect from a woman’s body, and her time, and her energy. We have to start interrogating all of the messages that we’ve received about bodies. Our interactions with our own bodies, and with other people’s bodies. There’s some really rich learning we get to do when we start asking those questions.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Unapologetic and proud. Those are just a few words that come to mind when you hear spoken word artist and activist Sonya Renee Taylor perform, especially when she explores themes like self-image, body shame, and radical self-love. She spoke with the California Report Magazine’s host, Sasha Khokha, about her new book, The Body is Not an Apology: The Power of Radical Self-Love.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On an epiphany she had after taking a picture of herself that she was reluctant to post on social media:\u003c/strong>\u003c/p>\n\u003cp>“I’m wearing a black corset. It was me in my skivvies. There was this internal dialogue happening inside of me. Part of me felt beautiful in the selfie I had taken. And then there was the internal chatter about what the external world would say.”\u003c/p>\n\u003cfigure id=\"attachment_11650449\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650449\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29474_16601771_10210513814254520_4738633528674944884_o-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonya Renee Taylor’s “The Body is Not an Apology” movement began with a selfie she took in 2011. At first, she was too afraid to post it on social media. \u003ccite>(Courtesy of Sonya Renee Taylor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So [six months later], I posted the photo, and I wrote, ‘in this photo, I’m 230 pounds. I have a really bad tattoo and stretch marks, and I feel beautiful in my body. Post a photo where you feel beautiful in your body.’ The next morning, 30 people had tagged me in photos. And I thought, maybe we need a place where we can celebrate ourselves. Maybe we need a place where we are allowed to feel unapologetically powerful and beautiful in our bodies.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On body shame, which often starts in childhood:\u003c/strong>\u003c/p>\n\u003cp>“I was teased unmercifully as a little girl because I developed traction alopecia in third grade. It’s permanent hair damage and hair balding from stress on the hair follicles, from my mother braiding my hair very, very tightly. That made me a target. I was already living in a world that told me my short, kinky hair as a dark skinned black girl was not OK. And the little bit of not OK hair I had was also missing in some places. That shame really baked in the notion that I was inherently flawed. I wore weaves and wigs from the time I was in seventh grade until about six years ago. One day I realized, ‘I wake up every day and tell people to love themselves unapologetically, and I won’t leave my bedroom without a wig.’ I was like, ‘what’s the scariest thing I can do to get over this giant hair shame?’ Challenge the belief that I can’t be beautiful because of my hair.”\u003c/p>\n\u003cp>\u003cstrong>On her poem, The Body is Not an Apology, which later became the name of her organization and her book:\u003c/strong>\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/B7lKPdh_y-8'\n title='//www.youtube.com/embed/B7lKPdh_y-8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I was a slam poet with a team of folks in Knoxville, TN, competing for the Southern Fried poetry slam. I was having a conversation with one of my teammates who was afraid that she might have an unexpected pregnancy. She also has cerebral palsy. I’m kind of nosy, I get in people’s business. So I asked her what made her decide to have unprotected sex with this person that she wasn’t into in a serious way. She was transformatively vulnerable with me in sharing that her disability made it difficult for her to be sexual. She didn’t feel entitled to ask this person to use a condom. What came out of me was, ‘your body is not an apology. It’s not something you offer to someone to say sorry for my disability.’ She heard it, but I also heard it as a message I was giving myself.”\u003c/p>\n\u003cp>\u003cstrong>On the importance of radical self-love as a tool to change the world:\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11650447\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11650447\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-800x862.jpg\" alt=\"\" width=\"800\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-800x862.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-160x172.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-1020x1099.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-1180x1271.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-960x1034.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-240x259.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-375x404.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/02/RS29475_20180215_103628-qut-520x560.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author, activist, and spoken word artist Sonya Renee Taylor at her book launch party. \u003ccite>(Kristen Frantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I believe that the world we want to see, a world that is just, equitable, and compassionate, requires us to develop a just, equitable, and compassionate relationship with ourselves first. We can’t build externally what we can’t build internally. I hope this book connects the dots between radical self-love and the systems of oppression that we see in the world. The ways in which violence and inequity against a multitude of bodies exists. And how our individual transformation can change the world, by practicing loving ourselves.”\u003c/p>\n\u003cp>“Let’s start with a shared reality. We all have a body, and if we learn how to make peace with our bodies, and everybody else’s body, we actually have a shot at dismantling some of those systems.”\u003c/p>\n\u003cp>\u003cstrong>On taking the first step toward radical self-love of your own body:\u003c/strong>\u003c/p>\n\u003cp>“I want people to ask themselves some questions to begin the journey. We think we came up with these ideas about all the ways our bodies are wrong. ‘I hate my thighs because I hate my thighs,’ or ‘I want to bleach my skin because I want to bleach my skin.’ We haven’t interrogated who gave us the message. I was in a conversation with a friend, a tiny petite woman, who said, ‘I just hate this pooch. I just wish my stomach was flat.’ Who told you your stomach should be flat? Where did that message come from? Who’s benefiting from all the ways in which I think I’m deficient? People profit off my self-hate. Let’s start investigating the things I’ve been told about my body.”\u003c/p>\n\u003cp>\u003cstrong>On the #Me Too Movement:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We can’t talk about #MeToo without talking about the ways in which society says women’s bodies should be treated. The messages we give men about what to expect from a woman’s body, and her time, and her energy. We have to start interrogating all of the messages that we’ve received about bodies. Our interactions with our own bodies, and with other people’s bodies. There’s some really rich learning we get to do when we start asking those questions.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Oakland's Two Black Panthers: The Movie and the Movement",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>On the opening night of the much anticipated \"Black Panther\" movie, director Ryan Coogler made a special appearance at Oakland's Grand Lake Theatre, talking to fans before the screening. Coogler was born in Oakland, and the film actually begins in his hometown.\u003c/p>\n\u003cp>Oakland is also the birthplace of a different panther, the Black Panther Party for Self-Defense.\u003c/p>\n\u003cp>In 1966, two black men, Huey Newton and Bobby Seale, founded the revolutionary movement.\u003c/p>\n\u003cp>Only a few months earlier two white men, Stan Lee and Jack Kirby, had introduced a black superhero into the Marvel Comics canon with the same name.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is the middle of the civil rights movement, a ramping up of the civil rights movement, and they created a character called Black Panther” said Shawn Taylor, a co-founder of the \u003ca href=\"http://sfmlkday.org/bcafcon/\" target=\"_blank\" rel=\"noopener\">Black Comix Arts Festival\u003c/a> and the website \u003ca href=\"https://thenerdsofcolor.org/\">The Nerds of Color\u003c/a>.\u003c/p>\n\u003cp>Now that character has his own movie, a movie made by, about, and as Taylor sees it, \u003ca href=\"https://verysmartbrothas.theroot.com/are-you-black-enough-to-watch-black-panther-a-quiz-1822935444\" target=\"_blank\" rel=\"noopener\">\u003cem>for\u003c/em> black people\u003c/a>. “There’s cultural blackness in this film, that some people may not get,” Taylor said.\u003c/p>\n\u003cp>“There are so many, my friend calls them blackisms, that if you aren't black you just may not get,” he said.\u003c/p>\n\u003cp>And that is just fine with him, he said, \"because if people want to watch 'Friends' and 'Seinfeld' that have nothing to do with me, I am OK with 'Black Panther' having nothing to do with a lot of other people.\"\u003c/p>\n\u003cp>[contextly_sidebar id=\"j7bUBLN9Y6lkOUxKTfzw0C2xRr9mlXSN\"]\u003c/p>\n\u003cp>That is one reason this movie is much more than a movie.\u003ca href=\"https://www.nytimes.com/2018/02/12/magazine/why-black-panther-is-a-defining-moment-for-black-america.html\" target=\"_blank\" rel=\"noopener\"> It is a cultural event\u003c/a>. “This is a moment, like African medallions in hip-hop, that’s connecting us to a larger mythology,” Taylor said.\u003c/p>\n\u003cp>In Oakland, the anticipation is palpable. Coogler's ties to Oakland have informed his work. His breakthrough first movie, \"\u003ca href=\"http://www.nytimes.com/2013/07/12/movies/fruitvale-station-is-based-on-the-story-of-oscar-grant-iii.html\" target=\"_blank\" rel=\"noopener\">Fruitvale Station\u003c/a>,\" was about the last day in the life of Oscar Grant, a young unarmed black man from \u003ca href=\"http://www.nytimes.com/2010/07/09/us/09verdict.html\" target=\"_blank\" rel=\"noopener\">Oakland who was killed by a BART police officer in 2009\u003c/a>. Grant lay restrained and face down on a crowded BART platform when he was shot in the back. That was before Trayvon Martin, before Michael Brown, before Black Lives Matter.\u003c/p>\n\u003cp>Shawn Taylor said it was serendipity that Black Panther was the name given to both a black Marvel superhero and a movement for black liberation in the same year. It was not a connection that Marvel wanted, Taylor said. They even tried to change the name “because they didn’t want to be associated with the Black Panther Party.”\u003c/p>\n\u003cp>https://twitter.com/peterhartlaub/status/964390926071181314\u003c/p>\n\u003cp>Some of the options tried out included Black Jaguar and Coal Tiger, and even dropping the “black” from Black Panther. But none of it worked.\u003c/p>\n\u003cp>Taylor says it was just too cool of a name. “I mean, ideas are bigger than us,\" Taylor said.\u003c/p>\n\u003cp>The idea of the Black Panther grew over time. In comic books and graphic novels a character is not just created by its originator. The universe is explored and populated by other writers. The Black Panther comic, and the Black Panther universe, was written over decades, by \u003ca href=\"http://www.vulture.com/2018/02/5-black-panther-comics-to-read-before-you-see-the-movie.html\" target=\"_blank\" rel=\"noopener\">generations of comic book writers\u003c/a> such as \u003ca href=\"http://www.vulture.com/2018/01/christopher-priest-made-black-panther-cool-then-disappeared.html\" target=\"_blank\" rel=\"noopener\">Christopher Priest\u003c/a>, and more recently by \u003ca href=\"https://www.theatlantic.com/notes/2016/06/wakanda-and-the-black-aesthetic/489290/\" target=\"_blank\" rel=\"noopener\">Ta-Nehisi Coates\u003c/a> and Roxane Gay.\u003c/p>\n\u003cp>These writers expanded on the mythic world that T'Challa -- the Black Panther -- came from and protected, the imagined African country of Wakanda.\u003c/p>\n\u003cp>“It is a country in Africa that has never been conquered by any European powers or anyone else,” Taylor said.\u003c/p>\n\u003cp>Wakanda, Taylor said, “is the most technologically advanced country in the world.”\u003c/p>\n\u003cfigure id=\"attachment_11650622\" class=\"wp-caption alignright\" style=\"max-width: 503px\">\u003cimg class=\"size-full wp-image-11650622\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/seale-newton.jpg\" alt=\"\" width=\"503\" height=\"630\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/seale-newton.jpg 503w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/seale-newton-160x200.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/seale-newton-240x301.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/seale-newton-375x470.jpg 375w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Party founders Bobby Seale and Huey P. Newton.\u003c/figcaption>\u003c/figure>\n\u003cp>Wakanda is not post-colonial or pre-colonial. It exists in a timeline where colonization \u003cem>never\u003c/em> happened. It is an African country in which people were never raped, murdered and kidnapped, never stacked on top of each other on ships that took them to death and slavery and struggle.\u003c/p>\n\u003cp>Colonization not only shapes the stories of black Americans, but also the narratives of African countries -- countries where colonizers staged proxy wars and propped up dictatorships so they could continue to harvest rich natural resources.\u003c/p>\n\u003cp>In the world of Wakanda black people are free to create, to innovate, to determine their own destiny. In that imagined space, they create technology beyond our wildest dreams. The metal that makes Captain America’s shield, vibranium, comes from Wakanda.\u003c/p>\n\u003cp>In the Marvel universe, Captain America represents America’s greatness. It seems fitting that his primary weapon, his shield, comes from the natural resources of an (imagined) African country.\u003c/p>\n\u003cp>That is a pretty apt metaphor for colonial power.\u003c/p>\n\u003cp>In Wakanda, the comics created a place where black people rule themselves. Historically, self-rule is a radical concept for people of color in America.\u003c/p>\n\u003cp>Which brings us back to the Black Panther Party, because self-rule is a concept for which they advocated and fought. That fight started in Oakland.\u003c/p>\n\u003cp>There is archival tape of Huey Newton, when he was leader of the Black Panther Party, just after he was arrested, talking to the press.\u003c/p>\n\u003cp>“If the police were to withdraw from the community,” Newton said, “and the black community control its own police institution as well as all the other institutions within our community -- we feel that law and order would exist.” Peace too, he added.\u003c/p>\n\u003cp>What he was asking for was a Wakanda, a space in which black people can rule themselves.\u003c/p>\n\u003cp>\u003cstrong>Imagination Is Revolutionary \u003c/strong>\u003c/p>\n\u003cp>“This idea of black heroes, this idea of a black liberation army, an army of warriors ready to fight, this is both literal and figurative,” Malkia Cyril said.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2016/02/19/lessons-from-growing-up-as-a-black-panther-cub/\" target=\"_blank\" rel=\"noopener\">Cyril grew up in the Black Panther Party\u003c/a>. “I am the daughter of a Black Panther, a \u003cem>real\u003c/em> Black Panther.”\u003c/p>\n\u003cp>Cyril is also the founder of the \u003ca href=\"http://centerformediajustice.org/\">Center for Media Justice\u003c/a>, so Cyril knows just how much representation matters, and not just representation, but empowered representation.\u003c/p>\n\u003cp>“That’s the heart of Afrofuturism,” Cyril said.\u003c/p>\n\u003cp>Quick history lesson: \u003ca href=\"https://www.theguardian.com/culture/2015/dec/07/afrofuturism-black-identity-future-science-technology\" target=\"_blank\" rel=\"noopener\">Afrofuturism\u003c/a> was coined in 1993 by the journalist Mark Dery -- a white guy -- to define the artistic movement where images of ancient Africa intersect with the future and the fantastic.\u003c/p>\n\u003cp>“It’s also digging into the past, bringing it forward, imaging the impossible,” Cyril said.\u003c/p>\n\u003cp>Afrofuturism was, in part, born out of a question, said Shawn Taylor: Why weren’t more African-Americans represented in science fiction?\u003c/p>\n\u003cp>“Black existence in America is science fiction,” Taylor said. “Aliens came to your land, abducted you, stole your god, stole your music, stole your language, and dropped you off into an alien land with new flora, new fauna -- new everything. So black experience is science fiction.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'Black existence in America is science fiction. Aliens came to your land, abducted you, stole your god, stole your music, stole your language, and dropped you off into an alien land with new flora, new fauna -- new everything. So black experience is science fiction.'\u003ccite>Shawn Taylor,\u003cbr>\nco-founder of the \u003ca href=\"http://sfmlkday.org/bcafcon/\" target=\"_blank\" rel=\"noopener\">Black Comix Arts Festival\u003c/a> and the website \u003ca href=\"https://thenerdsofcolor.org/\" target=\"_blank\" rel=\"noopener\">Nerds of Color\u003c/a>.\u003c/cite>\u003c/aside>\n\u003cp>If the real world is already sci-fi, why not use science fiction and fantasy to imagine a better one, Taylor asked.\u003c/p>\n\u003cp>Taylor believes the power of creations like Black Panther lies in their ability to imagine transcending the chains of the past, to fill in the holes of history, and to see the future through a black lens.\u003c/p>\n\u003cp>\"So what I think we can do as a revolutionary tool, as a resistance tool, is look at these narratives that Ryan Coogler and his team did, but then ask what do we create new from there,” Taylor said.\u003c/p>\n\u003cp>There is another term Taylor uses: ethno-speculation. The idea is to conjure and interrogate the world purely from one's own perspective. Historically, most mainstream movies about the African-American experience, he said, are about slavery and trauma, about the wounds of the past. There is a power in imagining yourself outside of that, Taylor said.\u003c/p>\n\u003cp>“I want to see what an Arab-American story is without white supremacy involved, without having to be labeled a terrorist. I want to see that story,” Taylor said.\u003c/p>\n\u003cp>“I want to see a woman’s story not having to contend with misogyny,\" Taylor said. \"I want to see a queer story not having to contend with homophobia, when you do these kind of cultural speculations, you get such beautiful and rich stories without always having to have double consciousness involved.”\u003c/p>\n\u003cp>Taylor said the power to speculate about a world without white supremacy makes that world, that self, feel possible. And that creates not a retreat, but a way forward.\u003c/p>\n\u003cp>Taylor admits that people still have to contend with reality.\u003c/p>\n\u003cp>In the technologically superior Wakanda, “technology elevates everybody,” Taylor said.\u003c/p>\n\u003cp>Taylor knows that does not carry over to the world we live in. “Oakland is kind of like the anti-Wakanda,” he said.\u003c/p>\n\u003cp>That is because technology here is fueling gentrification and the displacement of Oakland’s historic black population.\u003c/p>\n\u003cp>That is one reason activist Malkia Cyril said seeing the film is not enough.\u003c/p>\n\u003cp>At screenings, Cyril will also be talking, engaging in conversations. Cyril will be telling people about the \u003ca href=\"https://www.colorlines.com/articles/16-black-panthers-still-behind-bars\" target=\"_blank\" rel=\"noopener\">Black Panther Party members still behind bars\u003c/a>. Cyril said they were unfairly accused and convicted, \u003ca href=\"http://www.pbs.org/hueypnewton/actions/actions_cointelpro.html\" target=\"_blank\" rel=\"noopener\">targets of the FBI's COINTELPRO\u003c/a>.\u003c/p>\n\u003cp>Cyril will also be talking about the FBI’s newest target, so-called \u003ca href=\"http://foreignpolicy.com/2017/10/06/the-fbi-has-identified-a-new-domestic-terrorist-threat-and-its-black-identity-extremists/\">Black Identity Extremists\u003c/a>. Cyril said that is a barely disguised code for \u003ca href=\"https://blacklivesmatter.com/about/\">Black Lives Matter\u003c/a> activists, of which Cyril is one.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Ryan Coogler’s job was to make this amazing film -- and he did that. He did his job. Now it’s time for us to be on our job,” Cyril said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>On the opening night of the much anticipated \"Black Panther\" movie, director Ryan Coogler made a special appearance at Oakland's Grand Lake Theatre, talking to fans before the screening. Coogler was born in Oakland, and the film actually begins in his hometown.\u003c/p>\n\u003cp>Oakland is also the birthplace of a different panther, the Black Panther Party for Self-Defense.\u003c/p>\n\u003cp>In 1966, two black men, Huey Newton and Bobby Seale, founded the revolutionary movement.\u003c/p>\n\u003cp>Only a few months earlier two white men, Stan Lee and Jack Kirby, had introduced a black superhero into the Marvel Comics canon with the same name.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Some of the options tried out included Black Jaguar and Coal Tiger, and even dropping the “black” from Black Panther. But none of it worked.\u003c/p>\n\u003cp>Taylor says it was just too cool of a name. “I mean, ideas are bigger than us,\" Taylor said.\u003c/p>\n\u003cp>The idea of the Black Panther grew over time. In comic books and graphic novels a character is not just created by its originator. The universe is explored and populated by other writers. The Black Panther comic, and the Black Panther universe, was written over decades, by \u003ca href=\"http://www.vulture.com/2018/02/5-black-panther-comics-to-read-before-you-see-the-movie.html\" target=\"_blank\" rel=\"noopener\">generations of comic book writers\u003c/a> such as \u003ca href=\"http://www.vulture.com/2018/01/christopher-priest-made-black-panther-cool-then-disappeared.html\" target=\"_blank\" rel=\"noopener\">Christopher Priest\u003c/a>, and more recently by \u003ca href=\"https://www.theatlantic.com/notes/2016/06/wakanda-and-the-black-aesthetic/489290/\" target=\"_blank\" rel=\"noopener\">Ta-Nehisi Coates\u003c/a> and Roxane Gay.\u003c/p>\n\u003cp>These writers expanded on the mythic world that T'Challa -- the Black Panther -- came from and protected, the imagined African country of Wakanda.\u003c/p>\n\u003cp>“It is a country in Africa that has never been conquered by any European powers or anyone else,” Taylor said.\u003c/p>\n\u003cp>Wakanda, Taylor said, “is the most technologically advanced country in the world.”\u003c/p>\n\u003cfigure id=\"attachment_11650622\" class=\"wp-caption alignright\" style=\"max-width: 503px\">\u003cimg class=\"size-full wp-image-11650622\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/seale-newton.jpg\" alt=\"\" width=\"503\" height=\"630\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/02/seale-newton.jpg 503w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/seale-newton-160x200.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/seale-newton-240x301.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/02/seale-newton-375x470.jpg 375w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Party founders Bobby Seale and Huey P. Newton.\u003c/figcaption>\u003c/figure>\n\u003cp>Wakanda is not post-colonial or pre-colonial. It exists in a timeline where colonization \u003cem>never\u003c/em> happened. It is an African country in which people were never raped, murdered and kidnapped, never stacked on top of each other on ships that took them to death and slavery and struggle.\u003c/p>\n\u003cp>Colonization not only shapes the stories of black Americans, but also the narratives of African countries -- countries where colonizers staged proxy wars and propped up dictatorships so they could continue to harvest rich natural resources.\u003c/p>\n\u003cp>In the world of Wakanda black people are free to create, to innovate, to determine their own destiny. In that imagined space, they create technology beyond our wildest dreams. The metal that makes Captain America’s shield, vibranium, comes from Wakanda.\u003c/p>\n\u003cp>In the Marvel universe, Captain America represents America’s greatness. It seems fitting that his primary weapon, his shield, comes from the natural resources of an (imagined) African country.\u003c/p>\n\u003cp>That is a pretty apt metaphor for colonial power.\u003c/p>\n\u003cp>In Wakanda, the comics created a place where black people rule themselves. Historically, self-rule is a radical concept for people of color in America.\u003c/p>\n\u003cp>Which brings us back to the Black Panther Party, because self-rule is a concept for which they advocated and fought. That fight started in Oakland.\u003c/p>\n\u003cp>There is archival tape of Huey Newton, when he was leader of the Black Panther Party, just after he was arrested, talking to the press.\u003c/p>\n\u003cp>“If the police were to withdraw from the community,” Newton said, “and the black community control its own police institution as well as all the other institutions within our community -- we feel that law and order would exist.” Peace too, he added.\u003c/p>\n\u003cp>What he was asking for was a Wakanda, a space in which black people can rule themselves.\u003c/p>\n\u003cp>\u003cstrong>Imagination Is Revolutionary \u003c/strong>\u003c/p>\n\u003cp>“This idea of black heroes, this idea of a black liberation army, an army of warriors ready to fight, this is both literal and figurative,” Malkia Cyril said.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2016/02/19/lessons-from-growing-up-as-a-black-panther-cub/\" target=\"_blank\" rel=\"noopener\">Cyril grew up in the Black Panther Party\u003c/a>. “I am the daughter of a Black Panther, a \u003cem>real\u003c/em> Black Panther.”\u003c/p>\n\u003cp>Cyril is also the founder of the \u003ca href=\"http://centerformediajustice.org/\">Center for Media Justice\u003c/a>, so Cyril knows just how much representation matters, and not just representation, but empowered representation.\u003c/p>\n\u003cp>“That’s the heart of Afrofuturism,” Cyril said.\u003c/p>\n\u003cp>Quick history lesson: \u003ca href=\"https://www.theguardian.com/culture/2015/dec/07/afrofuturism-black-identity-future-science-technology\" target=\"_blank\" rel=\"noopener\">Afrofuturism\u003c/a> was coined in 1993 by the journalist Mark Dery -- a white guy -- to define the artistic movement where images of ancient Africa intersect with the future and the fantastic.\u003c/p>\n\u003cp>“It’s also digging into the past, bringing it forward, imaging the impossible,” Cyril said.\u003c/p>\n\u003cp>Afrofuturism was, in part, born out of a question, said Shawn Taylor: Why weren’t more African-Americans represented in science fiction?\u003c/p>\n\u003cp>“Black existence in America is science fiction,” Taylor said. “Aliens came to your land, abducted you, stole your god, stole your music, stole your language, and dropped you off into an alien land with new flora, new fauna -- new everything. So black experience is science fiction.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'Black existence in America is science fiction. Aliens came to your land, abducted you, stole your god, stole your music, stole your language, and dropped you off into an alien land with new flora, new fauna -- new everything. So black experience is science fiction.'\u003ccite>Shawn Taylor,\u003cbr>\nco-founder of the \u003ca href=\"http://sfmlkday.org/bcafcon/\" target=\"_blank\" rel=\"noopener\">Black Comix Arts Festival\u003c/a> and the website \u003ca href=\"https://thenerdsofcolor.org/\" target=\"_blank\" rel=\"noopener\">Nerds of Color\u003c/a>.\u003c/cite>\u003c/aside>\n\u003cp>If the real world is already sci-fi, why not use science fiction and fantasy to imagine a better one, Taylor asked.\u003c/p>\n\u003cp>Taylor believes the power of creations like Black Panther lies in their ability to imagine transcending the chains of the past, to fill in the holes of history, and to see the future through a black lens.\u003c/p>\n\u003cp>\"So what I think we can do as a revolutionary tool, as a resistance tool, is look at these narratives that Ryan Coogler and his team did, but then ask what do we create new from there,” Taylor said.\u003c/p>\n\u003cp>There is another term Taylor uses: ethno-speculation. The idea is to conjure and interrogate the world purely from one's own perspective. Historically, most mainstream movies about the African-American experience, he said, are about slavery and trauma, about the wounds of the past. There is a power in imagining yourself outside of that, Taylor said.\u003c/p>\n\u003cp>“I want to see what an Arab-American story is without white supremacy involved, without having to be labeled a terrorist. I want to see that story,” Taylor said.\u003c/p>\n\u003cp>“I want to see a woman’s story not having to contend with misogyny,\" Taylor said. \"I want to see a queer story not having to contend with homophobia, when you do these kind of cultural speculations, you get such beautiful and rich stories without always having to have double consciousness involved.”\u003c/p>\n\u003cp>Taylor said the power to speculate about a world without white supremacy makes that world, that self, feel possible. And that creates not a retreat, but a way forward.\u003c/p>\n\u003cp>Taylor admits that people still have to contend with reality.\u003c/p>\n\u003cp>In the technologically superior Wakanda, “technology elevates everybody,” Taylor said.\u003c/p>\n\u003cp>Taylor knows that does not carry over to the world we live in. “Oakland is kind of like the anti-Wakanda,” he said.\u003c/p>\n\u003cp>That is because technology here is fueling gentrification and the displacement of Oakland’s historic black population.\u003c/p>\n\u003cp>That is one reason activist Malkia Cyril said seeing the film is not enough.\u003c/p>\n\u003cp>At screenings, Cyril will also be talking, engaging in conversations. Cyril will be telling people about the \u003ca href=\"https://www.colorlines.com/articles/16-black-panthers-still-behind-bars\" target=\"_blank\" rel=\"noopener\">Black Panther Party members still behind bars\u003c/a>. Cyril said they were unfairly accused and convicted, \u003ca href=\"http://www.pbs.org/hueypnewton/actions/actions_cointelpro.html\" target=\"_blank\" rel=\"noopener\">targets of the FBI's COINTELPRO\u003c/a>.\u003c/p>\n\u003cp>Cyril will also be talking about the FBI’s newest target, so-called \u003ca href=\"http://foreignpolicy.com/2017/10/06/the-fbi-has-identified-a-new-domestic-terrorist-threat-and-its-black-identity-extremists/\">Black Identity Extremists\u003c/a>. Cyril said that is a barely disguised code for \u003ca href=\"https://blacklivesmatter.com/about/\">Black Lives Matter\u003c/a> activists, of which Cyril is one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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