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"content": "\u003cp>You became a Californian because someone in your family believed in a dream. A strong public education. The promise of a job. The weather. (Ahhh, the weather.) In its long history, the California Dream has meant different things to different people.\u003c/p>\n\u003cp>Today, the state’s identity is in marked contrast to the rest of the country. The dream may still be alive, but it’s challenged at every corner. What does it mean today?\u003c/p>\n\u003cp>KQED and mission-driven media organizations around the state will \u003ca href=\"https://ww2.kqed.org/news/series/californiadream/\" rel=\"noopener\" target=\"_blank\">explore the California Dream\u003c/a> starting this year. Reporters and producers will tell the personal stories and discuss the ideas that make up the history, future and current state of the California Dream. And we’ll ask: Is the dream still attainable for most people who live here? Share your California Dream in the form below.\u003c/p>\n\u003cp>http://bit.ly/kqedcadream\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/news/series/californiadream/\" target=\"_blank\" rel=\"noopener\">The California Dream series\u003c/a> is a statewide media collaboration of CALmatters, KPBS, KPCC, KQED and Capital Public Radio with support from the Corporation for Public Broadcasting, the James Irvine Foundation and the College Futures Foundation.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11660142\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/CADreamBanner-800x219.jpg\" alt=\"\" width=\"800\" height=\"219\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/04/CADreamBanner-800x219.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/CADreamBanner-160x44.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/CADreamBanner-1020x280.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/CADreamBanner-1180x324.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/CADreamBanner-960x263.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/CADreamBanner-240x66.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/CADreamBanner-375x103.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/CADreamBanner-520x143.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/04/CADreamBanner.jpg 1867w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You became a Californian because someone in your family believed in a dream. A strong public education. The promise of a job. The weather. (Ahhh, the weather.) In its long history, the California Dream has meant different things to different people.\u003c/p>\n\u003cp>Today, the state’s identity is in marked contrast to the rest of the country. The dream may still be alive, but it’s challenged at every corner. What does it mean today?\u003c/p>\n\u003cp>KQED and mission-driven media organizations around the state will \u003ca href=\"https://ww2.kqed.org/news/series/californiadream/\" rel=\"noopener\" target=\"_blank\">explore the California Dream\u003c/a> starting this year. Reporters and producers will tell the personal stories and discuss the ideas that make up the history, future and current state of the California Dream. And we’ll ask: Is the dream still attainable for most people who live here? Share your California Dream in the form below.\u003c/p>\n\u003cp>http://bit.ly/kqedcadream\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/news/series/californiadream/\" target=\"_blank\" rel=\"noopener\">The California Dream series\u003c/a> is a statewide media collaboration of CALmatters, KPBS, KPCC, KQED and Capital Public Radio with support from the Corporation for Public Broadcasting, the James Irvine Foundation and the College Futures Foundation.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "for-chinas-gold-rush-prospectors-bone-scraping-was-the-last-way-home",
"title": "For China’s Gold Rush Prospectors, ‘Bone Scraping’ Was the Last Way Home",
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"content": "\u003cp>During the Gold Rush, thousands of Chinese prospectors came to California looking to “hit pay dirt,” and then head home rich. But like so many miners with the same ambition, most Chinese immigrants ended up in less shiny pursuits — like railroads, restaurants and retail. They sent money back to the home country when they could, and planned to return eventually.\u003c/p>\n\u003cp>So what happened when they died in California?\u003c/p>\n\u003cp>Richard Yue owns the Chinese cemetery in Auburn, where his great-grandfather’s bones still lie buried in a terra-cotta pot.\u003c/p>\n\u003cp>“Unfortunately, somebody popped open the lid of it and stole the skull out of it, but the bones are in there,” Yue says.\u003c/p>\n\u003cp>His ancestors didn’t expect their remains to stay in California. But given the long, expensive boat trip between San Francisco and China in the 19th century, it made more sense to bury the bodies in shallow graves for approximately seven years, and let the perishable flesh decompose first.\u003c/p>\n\u003cfigure id=\"attachment_11626909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11626909 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-800x450.jpg\" alt=\"You'd have to go looking for Auburn's Chinese cemetery, located as it far off the main drag. Many Chinese communities during the Gold Rush did not have their own cemeteries. Others had several, each dedication to different families coming from different regions of China.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many Chinese communities during the Gold Rush did not have their own cemeteries. Others had several, each dedication to different families coming from different regions of China. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the case of those buried in Auburn, most of the bones were headed back to a particular region of southwestern Guangdong known as Toishan, or Taishan today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yue explains that when enough time had passed, the deceased’s relatives would contact one of a handful of companies in San Francisco that did bone scraping.\u003c/p>\n\u003cp>“[They] would come here and exhume the bones and clean them and arrange them very carefully into tin boxes or into crocks. Then they would take them to San Francisco and have them shipped back to their home village to be buried with their ancestors,” Yue says.\u003c/p>\n\u003cfigure id=\"attachment_11626922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11626922\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-800x600.jpg\" alt=\"What remains of the remains of Richard Yue's great-grandfather, Chong You. Under this cap lies a terra cotta jar with Chong You's bones, minus the skull (stolen by vandals).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What remains of the remains of Richard Yue’s great-grandfather, Chong You. Under this cap lies a terra cotta jar with Chong You’s bones, minus the skull (stolen by vandals). \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Funerary rites are a wonderful lens to understand and view a culture,” says Linda Sun Crowder. A cultural anthropologist who teaches at Cal State Fullerton, she’s also one of the state’s foremost experts on the practice of Chinese “bone scraping.”\u003c/p>\n\u003cp>Crowder says the bones are believed to harness powerful energy. “Every Chinese wants to be buried together with their ancestors, so that all the combined energy from these bones will help to fortify the family and bring good fortune.”\u003c/p>\n\u003cp>Even the lowliest laborer would contract — or his family association would contract for him — bone scraping in the event of his death. While it was common for many fortune hunters to presume their stay in California would be temporary, the Chinese had strong reasons to doubt they could set down roots.\u003c/p>\n\u003cp>Anti-Chinese sentiment was rife in 19th century America, peaking in 1882 with the federal establishment of the Chinese Exclusion Act, suspending all immigration of Chinese laborers. The Chinese Exclusion Act was the first law implemented to prevent a specific ethnic group from immigrating to the United States. It would not be repealed until 1943.\u003c/p>\n\u003cfigure id=\"attachment_11626923\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11626923\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-800x727.jpg\" alt=\"Richard Yue's ancestors came to California seeking a better life. At first, they may have intended to make their fortune and return to China. But over time, they set down roots and helped establish a Chinese community in the foothills of the Sierra Nevada.\" width=\"800\" height=\"727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-800x727.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-1020x926.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-1180x1072.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-960x872.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-240x218.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-375x341.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-520x472.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut.jpg 1843w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Yue’s ancestors came to California seeking a better life. At first, they may have intended to make their fortune and return to China. But over time, they set down roots and helped establish a Chinese community in the foothills of the Sierra Nevada. \u003ccite>(Photo: Courtesy of Richard Yue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bone scraping in the U.S. lasted until the 1950s, in large part because Communist China then was closed off from the rest of the world.\u003c/p>\n\u003cp>Nowadays, Crowder says, there’s a reverse trend in effect.\u003c/p>\n\u003cp>“Since many Chinese are now living overseas, they want to, again, keep their family together, and they are bringing remains out of China over to America … wherever they are making their new home,” Crowder says.\u003c/p>\n\u003cp>“Wherever” means all over the world.\u003c/p>\n\u003cp>Terry Abraham of the University of Idaho has compiled an impressively long list of \u003ca href=\"http://webpages.uidaho.edu/special-collections/papers/ch_cem.htm\" target=\"_blank\" rel=\"noopener\">Chinese cemeteries outside China\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Today, you can still find Gold Rush-era Chinese cemeteries, or Chinese sections of cemeteries, all over California. Among the altars and stone grave markers you’ll find a number of shallow depressions in the grass-covered earth: the last evidence here of the Chinese whose bones made it back to China.\u003c/p>\n\u003cfigure id=\"attachment_11626927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11626927\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-800x600.jpg\" alt=\"Many of California's historic Chinese cemeteries are in need of restoration. History buff groups like E Clampus Vitus are working to support that effort, providing clean up crews and plaques explaining the importance of these sites for all. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many of California’s historic Chinese cemeteries are in need of restoration. History buff groups like E Clampus Vitus are working to support that effort, providing cleanup crews and plaques explaining the importance of these sites for all. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "For many in 1800s California, the long passage back home was prohibitively expensive -- and this all-but-forgotten practice was the only way to be buried with their ancestors.",
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"title": "For China’s Gold Rush Prospectors, ‘Bone Scraping’ Was the Last Way Home | KQED",
"description": "For many in 1800s California, the long passage back home was prohibitively expensive -- and this all-but-forgotten practice was the only way to be buried with their ancestors.",
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"headline": "For China’s Gold Rush Prospectors, ‘Bone Scraping’ Was the Last Way Home",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the Gold Rush, thousands of Chinese prospectors came to California looking to “hit pay dirt,” and then head home rich. But like so many miners with the same ambition, most Chinese immigrants ended up in less shiny pursuits — like railroads, restaurants and retail. They sent money back to the home country when they could, and planned to return eventually.\u003c/p>\n\u003cp>So what happened when they died in California?\u003c/p>\n\u003cp>Richard Yue owns the Chinese cemetery in Auburn, where his great-grandfather’s bones still lie buried in a terra-cotta pot.\u003c/p>\n\u003cp>“Unfortunately, somebody popped open the lid of it and stole the skull out of it, but the bones are in there,” Yue says.\u003c/p>\n\u003cp>His ancestors didn’t expect their remains to stay in California. But given the long, expensive boat trip between San Francisco and China in the 19th century, it made more sense to bury the bodies in shallow graves for approximately seven years, and let the perishable flesh decompose first.\u003c/p>\n\u003cfigure id=\"attachment_11626909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11626909 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-800x450.jpg\" alt=\"You'd have to go looking for Auburn's Chinese cemetery, located as it far off the main drag. Many Chinese communities during the Gold Rush did not have their own cemeteries. Others had several, each dedication to different families coming from different regions of China.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27806_IMG_9671-1-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many Chinese communities during the Gold Rush did not have their own cemeteries. Others had several, each dedication to different families coming from different regions of China. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the case of those buried in Auburn, most of the bones were headed back to a particular region of southwestern Guangdong known as Toishan, or Taishan today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yue explains that when enough time had passed, the deceased’s relatives would contact one of a handful of companies in San Francisco that did bone scraping.\u003c/p>\n\u003cp>“[They] would come here and exhume the bones and clean them and arrange them very carefully into tin boxes or into crocks. Then they would take them to San Francisco and have them shipped back to their home village to be buried with their ancestors,” Yue says.\u003c/p>\n\u003cfigure id=\"attachment_11626922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11626922\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-800x600.jpg\" alt=\"What remains of the remains of Richard Yue's great-grandfather, Chong You. Under this cap lies a terra cotta jar with Chong You's bones, minus the skull (stolen by vandals).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27808_IMG_9684-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What remains of the remains of Richard Yue’s great-grandfather, Chong You. Under this cap lies a terra cotta jar with Chong You’s bones, minus the skull (stolen by vandals). \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Funerary rites are a wonderful lens to understand and view a culture,” says Linda Sun Crowder. A cultural anthropologist who teaches at Cal State Fullerton, she’s also one of the state’s foremost experts on the practice of Chinese “bone scraping.”\u003c/p>\n\u003cp>Crowder says the bones are believed to harness powerful energy. “Every Chinese wants to be buried together with their ancestors, so that all the combined energy from these bones will help to fortify the family and bring good fortune.”\u003c/p>\n\u003cp>Even the lowliest laborer would contract — or his family association would contract for him — bone scraping in the event of his death. While it was common for many fortune hunters to presume their stay in California would be temporary, the Chinese had strong reasons to doubt they could set down roots.\u003c/p>\n\u003cp>Anti-Chinese sentiment was rife in 19th century America, peaking in 1882 with the federal establishment of the Chinese Exclusion Act, suspending all immigration of Chinese laborers. The Chinese Exclusion Act was the first law implemented to prevent a specific ethnic group from immigrating to the United States. It would not be repealed until 1943.\u003c/p>\n\u003cfigure id=\"attachment_11626923\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11626923\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-800x727.jpg\" alt=\"Richard Yue's ancestors came to California seeking a better life. At first, they may have intended to make their fortune and return to China. But over time, they set down roots and helped establish a Chinese community in the foothills of the Sierra Nevada.\" width=\"800\" height=\"727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-800x727.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-1020x926.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-1180x1072.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-960x872.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-240x218.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-375x341.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut-520x472.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27804_Chong-You-1894-qut.jpg 1843w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Yue’s ancestors came to California seeking a better life. At first, they may have intended to make their fortune and return to China. But over time, they set down roots and helped establish a Chinese community in the foothills of the Sierra Nevada. \u003ccite>(Photo: Courtesy of Richard Yue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bone scraping in the U.S. lasted until the 1950s, in large part because Communist China then was closed off from the rest of the world.\u003c/p>\n\u003cp>Nowadays, Crowder says, there’s a reverse trend in effect.\u003c/p>\n\u003cp>“Since many Chinese are now living overseas, they want to, again, keep their family together, and they are bringing remains out of China over to America … wherever they are making their new home,” Crowder says.\u003c/p>\n\u003cp>“Wherever” means all over the world.\u003c/p>\n\u003cp>Terry Abraham of the University of Idaho has compiled an impressively long list of \u003ca href=\"http://webpages.uidaho.edu/special-collections/papers/ch_cem.htm\" target=\"_blank\" rel=\"noopener\">Chinese cemeteries outside China\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Today, you can still find Gold Rush-era Chinese cemeteries, or Chinese sections of cemeteries, all over California. Among the altars and stone grave markers you’ll find a number of shallow depressions in the grass-covered earth: the last evidence here of the Chinese whose bones made it back to China.\u003c/p>\n\u003cfigure id=\"attachment_11626927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11626927\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-800x600.jpg\" alt=\"Many of California's historic Chinese cemeteries are in need of restoration. History buff groups like E Clampus Vitus are working to support that effort, providing clean up crews and plaques explaining the importance of these sites for all. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27807_IMG_9675-1-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many of California’s historic Chinese cemeteries are in need of restoration. History buff groups like E Clampus Vitus are working to support that effort, providing cleanup crews and plaques explaining the importance of these sites for all. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Is a Hollywood Tax Credit Still Needed to Protect Industry Jobs?",
"title": "Is a Hollywood Tax Credit Still Needed to Protect Industry Jobs?",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Posters in the hallway announce upcoming club meetings and homecoming events. Placards next to lockers note yearly academic achievements. In a nearby basketball gym, banners hang from the ceiling to celebrate the Liberty High Tigers' past championships.\u003c/p>\n\u003cp>But you won't find any students at this meticulously detailed production set, constructed inside a former Navy recreation center on Mare Island in the Bay Area city of Vallejo.\u003c/p>\n\u003cp>Fields and buildings abandoned by the Navy in 1996 have been transformed into Film Mare Island, a production facility that hosted the soon-to-be-released second season of \"13 Reasons Why,\" the controversial Netflix show about a teen's suicide.\u003c/p>\n\u003cp>The facility has been heralded as a successful product of California's expanded film tax credit program, \u003ca href=\"https://www.youtube.com/watch?v=kLwZ3VAValw\" target=\"_blank\" rel=\"noopener\">signed by Gov. Jerry Brown \u003c/a>in 2014. The initiative aims to expand production to all corners of the state and to protect an industry at risk of losing film jobs to other countries and states.\u003c/p>\n\u003cfigure id=\"attachment_11620274\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11620274 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/13RW-e1506912178829-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A former naval building on Mare Island in Vallejo is transformed into the set of the Netflix hit \"13 Reasons Why.\" \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as many competing programs have come up short in their goal of creating sustained film production, it seems that the threat of new Tinseltowns sprouting up across the country has diminished.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Speaking in front of the Hollywood Chamber of Commerce \u003ca href=\"https://www.youtube.com/watch?v=gloBpyzENg8&t=2613s\" target=\"_blank\" rel=\"noopener\">in August\u003c/a>, Senate President Pro Tem Kevin de León said the film tax credit investment \"is paying off\" as other states reduce their incentive programs.\u003c/p>\n\u003cp>\"With the sheer scale of our commitment to the industry, we’re out-competing states like Florida and North Carolina,\" he said. \"Both states have dropped their programs after we overhauled ours here in California.\"\u003c/p>\n\u003cp>The extension and expansion of California's film and TV tax credit was chaptered in \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201320140AB1839\" target=\"_blank\" rel=\"noopener\">Assembly Bill 1839\u003c/a>, which grew the program from $100 million to $330 million annually through 2020.\u003c/p>\n\u003cp>Proponents argued that the legislation, which received bipartisan support, would stem the tide of thousands of film production jobs \u003ca href=\"http://www.milkeninstitute.org/publications/view/620\" target=\"_blank\" rel=\"noopener\">leaving the state\u003c/a> every year.\u003c/p>\n\u003cp>\"The film and TV industry is an indigenous kind of industry, especially in Southern California,\" said Assemblyman Raul Bocanegra, D-Pacoima, who helped write the tax credit bill. \"We were losing our lunch to other places in the country and the world for filming.\"\u003c/p>\n\u003cp>The solution offers greater incentives to production companies than the original film tax credit program did and changed a number of features of the earlier program.\u003c/p>\n\u003cp>A budget cap that excluded blockbuster films from receiving credits was eliminated, and the process of selecting films to receive credits was changed from a random lottery to a formula that aims to choose productions most likely to deliver jobs.\u003c/p>\n\u003cp>Films and TV shows can receive a tax credit covering 20 percent of expenses with added incentives for shows relocating to California. The qualified expenses include wages for cameramen and crew, and money spent on equipment, but not the salaries of actors or directors.\u003c/p>\n\u003cp>[contextly_sidebar id=\"rqjy3ZLpNvtZJlhkJ0BNnG0JDPe5QqUY\"]\u003c/p>\n\u003cp>Without the tax credit, the money given back to film studios would go to the state's general fund to help pay for programs like public education and Medi-Cal.\u003c/p>\n\u003cp>The direct benefits of the program can be challenging to track.\u003c/p>\n\u003cp>Brian Weatherford, a fiscal and policy analyst with the Legislative Analyst's Office, says a \u003ca href=\"http://www.lao.ca.gov/reports/2016/3502/First-Film-Tax-Credit-Prog-092916.pdf\" target=\"_blank\" rel=\"noopener\">study of the first film incentive program \u003c/a>found that many productions that missed out on a tax credit in California ended up relocating to another state or country.\u003c/p>\n\u003cp>But the circumstances for each project are so unique that researchers found it impossible to simulate what would have happened to the industry if no tax breaks were given.\u003c/p>\n\u003cp>\"We found that there was some justification to consider having [the tax credits] because of this very aggressive competition from other states,\" Weatherford said, \"but we have no way of knowing what the alternative is.\"\u003c/p>\n\u003cp>Backers of the program say it has delivered on its goal of providing a shot in the arm to one of California's signature industries.\u003c/p>\n\u003cp>A \u003ca href=\"http://film.ca.gov/wp-content/uploads/CA-Tax-Credit-Progress-Report-09-2017-FINAL.pdf\" target=\"_blank\" rel=\"noopener\">recent report\u003c/a> from the California Film Commission concluded that during the program's first two years, the state \"attracted or retained\" 100 projects, which created an estimated $3.7 billion of spending.\u003c/p>\n\u003cp>\"We’re definitely seeing a resurgence in the level of production all over the state,\" said Amy Lemisch, executive director of the California Film Commission. \"Our soundstage facilities are pretty much operating at capacity.\"\u003c/p>\n\u003cp>Legislators behind the expansion also tout an extra 5 percent credit given to projects filming outside the 30-mile zone around Los Angeles.\u003c/p>\n\u003cp>Among the projects taking advantage of the bonus tax credit is \"13 Reasons Why,\" which this summer filmed its second season in the Bay Area.\u003c/p>\n\u003cp>\"It is the catalyst for why we're here today,\" said Mark Walter, general manager of Film Mare Island, where the Netflix show and an additional feature film are being shot. \"We would not be here if it wasn’t for that added incentive.\"\u003c/p>\n\u003cfigure id=\"attachment_11620275\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11620275 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Mark-Walter-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Film Mare Island General Manager Mark Walter, outside his office in Vallejo. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As he zips between soundstages and design studios in his golf cart, Walter points to the network of lumber yards, catering companies and hotels that benefit from a production coming to town.\u003c/p>\n\u003cp>The California Film Commission report found that during the production of the first season of \"13 Reasons Why,\" nearly $22 million was spent in Contra Costa, Marin, Solano and Sonoma counties.\u003c/p>\n\u003cp>\"The bill is doing what it was intended to do,\" said Assemblyman Bocanegra. \"Keep as many jobs as we can in California and to spread it around. Not just in Southern California but throughout the state.\"\u003c/p>\n\u003cp>The question that will face lawmakers when the current tax credit program expires in 2020 is whether California's well-established film infrastructure still needs help to stave off competition.\u003c/p>\n\u003cp>\"In an ideal world, we’d be competing on how good our soundstages are,\" said the Legislative Analyst's Office's Weatherford. \"Not because our government is giving away money.\"\u003c/p>\n\u003cp>Increasingly, other states are deciding that the tax credits are a race to the bottom.\u003c/p>\n\u003cp>A \u003ca href=\"https://priceschool.usc.edu/fade-to-black-exploring-policy-enactment-and-termination-through-the-rise-and-fall-of-state-tax-incentives-for-the-motion-picture-industry/\" target=\"_blank\" rel=\"noopener\">study\u003c/a> by University of Southern California Assistant Professor Michael Thom found that 11 of the 45 states that once offered film tax credits have ended their programs.\u003c/p>\n\u003cp>Others, like Louisiana, have \u003ca href=\"https://www.usnews.com/news/best-states/louisiana/articles/2017-06-02/louisianas-film-tax-credit-program-to-continue-with-a-cap\" target=\"_blank\" rel=\"noopener\">scaled back\u003c/a> investments after seeing little growth in jobs and productions.\u003c/p>\n\u003cp>“It did not help states attract larger shares of the industry,\" Thom said. \"In the long term, most of Hollywood stayed in Hollywood.\"\u003c/p>\n\u003cp>California and New York's inherent advantages (scenery; an established pool of actors, directors and writers; proximity to existing studios) were apparently too difficult to overcome, save for picking off an occasional big-name feature.\u003c/p>\n\u003cfigure id=\"attachment_11620276\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11620276 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">State Senate President Pro Tem Kevin de León, D-Los Angeles. \u003ccite>(Bert Johnson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As California's current film tax credit nears its midway point, lawmakers will consider an expansion amid a field of fewer competitors.\u003c/p>\n\u003cp>\"It’s sort of bizarre to watch California spend more money to retain jobs that there’s no real incentive to leave the state,\" Thom said.\u003c/p>\n\u003cp>Senate President Pro Tem de León said he'll consider possible changes to the program, but he doesn't want to take any chances in letting the incentives expire.\u003c/p>\n\u003cp>\"We have to extend it, and we have to send the signal that we're in this for the long haul,\" de León said. \"We're not out of the woods.\"\u003c/p>\n\u003cp>It may simply prove more politically costly to ditch the tax credits, which de León said many businesses view as \"catnip.\" That metaphor was echoed in Thom's research at USC, which found that the more a state invested in film tax credits, the less likely they were to scale back the incentive.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Once the investment is made and the industry becomes used to the benefit, \"it's very hard to overcome,\" Thom said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Posters in the hallway announce upcoming club meetings and homecoming events. Placards next to lockers note yearly academic achievements. In a nearby basketball gym, banners hang from the ceiling to celebrate the Liberty High Tigers' past championships.\u003c/p>\n\u003cp>But you won't find any students at this meticulously detailed production set, constructed inside a former Navy recreation center on Mare Island in the Bay Area city of Vallejo.\u003c/p>\n\u003cp>Fields and buildings abandoned by the Navy in 1996 have been transformed into Film Mare Island, a production facility that hosted the soon-to-be-released second season of \"13 Reasons Why,\" the controversial Netflix show about a teen's suicide.\u003c/p>\n\u003cp>The facility has been heralded as a successful product of California's expanded film tax credit program, \u003ca href=\"https://www.youtube.com/watch?v=kLwZ3VAValw\" target=\"_blank\" rel=\"noopener\">signed by Gov. Jerry Brown \u003c/a>in 2014. The initiative aims to expand production to all corners of the state and to protect an industry at risk of losing film jobs to other countries and states.\u003c/p>\n\u003cfigure id=\"attachment_11620274\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11620274 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/13RW-e1506912178829-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/13RW-e1506912178829-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A former naval building on Mare Island in Vallejo is transformed into the set of the Netflix hit \"13 Reasons Why.\" \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as many competing programs have come up short in their goal of creating sustained film production, it seems that the threat of new Tinseltowns sprouting up across the country has diminished.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speaking in front of the Hollywood Chamber of Commerce \u003ca href=\"https://www.youtube.com/watch?v=gloBpyzENg8&t=2613s\" target=\"_blank\" rel=\"noopener\">in August\u003c/a>, Senate President Pro Tem Kevin de León said the film tax credit investment \"is paying off\" as other states reduce their incentive programs.\u003c/p>\n\u003cp>\"With the sheer scale of our commitment to the industry, we’re out-competing states like Florida and North Carolina,\" he said. \"Both states have dropped their programs after we overhauled ours here in California.\"\u003c/p>\n\u003cp>The extension and expansion of California's film and TV tax credit was chaptered in \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201320140AB1839\" target=\"_blank\" rel=\"noopener\">Assembly Bill 1839\u003c/a>, which grew the program from $100 million to $330 million annually through 2020.\u003c/p>\n\u003cp>Proponents argued that the legislation, which received bipartisan support, would stem the tide of thousands of film production jobs \u003ca href=\"http://www.milkeninstitute.org/publications/view/620\" target=\"_blank\" rel=\"noopener\">leaving the state\u003c/a> every year.\u003c/p>\n\u003cp>\"The film and TV industry is an indigenous kind of industry, especially in Southern California,\" said Assemblyman Raul Bocanegra, D-Pacoima, who helped write the tax credit bill. \"We were losing our lunch to other places in the country and the world for filming.\"\u003c/p>\n\u003cp>The solution offers greater incentives to production companies than the original film tax credit program did and changed a number of features of the earlier program.\u003c/p>\n\u003cp>A budget cap that excluded blockbuster films from receiving credits was eliminated, and the process of selecting films to receive credits was changed from a random lottery to a formula that aims to choose productions most likely to deliver jobs.\u003c/p>\n\u003cp>Films and TV shows can receive a tax credit covering 20 percent of expenses with added incentives for shows relocating to California. The qualified expenses include wages for cameramen and crew, and money spent on equipment, but not the salaries of actors or directors.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Without the tax credit, the money given back to film studios would go to the state's general fund to help pay for programs like public education and Medi-Cal.\u003c/p>\n\u003cp>The direct benefits of the program can be challenging to track.\u003c/p>\n\u003cp>Brian Weatherford, a fiscal and policy analyst with the Legislative Analyst's Office, says a \u003ca href=\"http://www.lao.ca.gov/reports/2016/3502/First-Film-Tax-Credit-Prog-092916.pdf\" target=\"_blank\" rel=\"noopener\">study of the first film incentive program \u003c/a>found that many productions that missed out on a tax credit in California ended up relocating to another state or country.\u003c/p>\n\u003cp>But the circumstances for each project are so unique that researchers found it impossible to simulate what would have happened to the industry if no tax breaks were given.\u003c/p>\n\u003cp>\"We found that there was some justification to consider having [the tax credits] because of this very aggressive competition from other states,\" Weatherford said, \"but we have no way of knowing what the alternative is.\"\u003c/p>\n\u003cp>Backers of the program say it has delivered on its goal of providing a shot in the arm to one of California's signature industries.\u003c/p>\n\u003cp>A \u003ca href=\"http://film.ca.gov/wp-content/uploads/CA-Tax-Credit-Progress-Report-09-2017-FINAL.pdf\" target=\"_blank\" rel=\"noopener\">recent report\u003c/a> from the California Film Commission concluded that during the program's first two years, the state \"attracted or retained\" 100 projects, which created an estimated $3.7 billion of spending.\u003c/p>\n\u003cp>\"We’re definitely seeing a resurgence in the level of production all over the state,\" said Amy Lemisch, executive director of the California Film Commission. \"Our soundstage facilities are pretty much operating at capacity.\"\u003c/p>\n\u003cp>Legislators behind the expansion also tout an extra 5 percent credit given to projects filming outside the 30-mile zone around Los Angeles.\u003c/p>\n\u003cp>Among the projects taking advantage of the bonus tax credit is \"13 Reasons Why,\" which this summer filmed its second season in the Bay Area.\u003c/p>\n\u003cp>\"It is the catalyst for why we're here today,\" said Mark Walter, general manager of Film Mare Island, where the Netflix show and an additional feature film are being shot. \"We would not be here if it wasn’t for that added incentive.\"\u003c/p>\n\u003cfigure id=\"attachment_11620275\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11620275 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Mark-Walter-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Mark-Walter-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Film Mare Island General Manager Mark Walter, outside his office in Vallejo. \u003ccite>(Guy Marzorati/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As he zips between soundstages and design studios in his golf cart, Walter points to the network of lumber yards, catering companies and hotels that benefit from a production coming to town.\u003c/p>\n\u003cp>The California Film Commission report found that during the production of the first season of \"13 Reasons Why,\" nearly $22 million was spent in Contra Costa, Marin, Solano and Sonoma counties.\u003c/p>\n\u003cp>\"The bill is doing what it was intended to do,\" said Assemblyman Bocanegra. \"Keep as many jobs as we can in California and to spread it around. Not just in Southern California but throughout the state.\"\u003c/p>\n\u003cp>The question that will face lawmakers when the current tax credit program expires in 2020 is whether California's well-established film infrastructure still needs help to stave off competition.\u003c/p>\n\u003cp>\"In an ideal world, we’d be competing on how good our soundstages are,\" said the Legislative Analyst's Office's Weatherford. \"Not because our government is giving away money.\"\u003c/p>\n\u003cp>Increasingly, other states are deciding that the tax credits are a race to the bottom.\u003c/p>\n\u003cp>A \u003ca href=\"https://priceschool.usc.edu/fade-to-black-exploring-policy-enactment-and-termination-through-the-rise-and-fall-of-state-tax-incentives-for-the-motion-picture-industry/\" target=\"_blank\" rel=\"noopener\">study\u003c/a> by University of Southern California Assistant Professor Michael Thom found that 11 of the 45 states that once offered film tax credits have ended their programs.\u003c/p>\n\u003cp>Others, like Louisiana, have \u003ca href=\"https://www.usnews.com/news/best-states/louisiana/articles/2017-06-02/louisianas-film-tax-credit-program-to-continue-with-a-cap\" target=\"_blank\" rel=\"noopener\">scaled back\u003c/a> investments after seeing little growth in jobs and productions.\u003c/p>\n\u003cp>“It did not help states attract larger shares of the industry,\" Thom said. \"In the long term, most of Hollywood stayed in Hollywood.\"\u003c/p>\n\u003cp>California and New York's inherent advantages (scenery; an established pool of actors, directors and writers; proximity to existing studios) were apparently too difficult to overcome, save for picking off an occasional big-name feature.\u003c/p>\n\u003cfigure id=\"attachment_11620276\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11620276 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS24761_20170324_SenatorKevindeLeon_Credit_BertJohnson-1-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">State Senate President Pro Tem Kevin de León, D-Los Angeles. \u003ccite>(Bert Johnson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As California's current film tax credit nears its midway point, lawmakers will consider an expansion amid a field of fewer competitors.\u003c/p>\n\u003cp>\"It’s sort of bizarre to watch California spend more money to retain jobs that there’s no real incentive to leave the state,\" Thom said.\u003c/p>\n\u003cp>Senate President Pro Tem de León said he'll consider possible changes to the program, but he doesn't want to take any chances in letting the incentives expire.\u003c/p>\n\u003cp>\"We have to extend it, and we have to send the signal that we're in this for the long haul,\" de León said. \"We're not out of the woods.\"\u003c/p>\n\u003cp>It may simply prove more politically costly to ditch the tax credits, which de León said many businesses view as \"catnip.\" That metaphor was echoed in Thom's research at USC, which found that the more a state invested in film tax credits, the less likely they were to scale back the incentive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once the investment is made and the industry becomes used to the benefit, \"it's very hard to overcome,\" Thom said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "PHOTOS: Thousands Celebrate Dia de los Muertos in Oakland",
"title": "PHOTOS: Thousands Celebrate Dia de los Muertos in Oakland",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>Dia de los Muertos, or Day of the Dead, dates back nearly 3,000 years ago, to the Aztecs in Central America. The Mexican holiday, which honors and remembers the dead, was originally celebrated in the summer, but after a few hundred years and some mixing of Spanish Catholicism, it now takes place in the fall. \u003c/p>\n\u003cp>This year, the holiday falls on Oct. 31 and Nov. 1.\u003c/p>\n\u003cp>In the Bay Area, community Day of the Dead celebrations are becoming more popular including the annual Dia de los Muertos Festival in Oakland, which is put on by the Unity Council. Organizers say the outdoor festival regularly attracts more than 60,000 people to downtown Fruitvale. This year's festival -- held on Sunday, Oct. 29 -- was the 22nd and included traditional Aztec dancing, live music, more than 100 Latin American vendors and 30 altars designed by local artists.\u003c/p>\n\u003cp>A large part of Dia de los Muertos includes building altars, or \u003cem>ofrendas\u003c/em>, to loved ones who have died. They’re filled with items that are thought to help guide spirits back home like attractive and fragrant yellow and orange marigolds. Copal and salvia incense is also often burned.\u003c/p>\n\u003cp>And of course, favorite foods of the dead, like avocados and apples, are laid out along with brightly colored sugar skulls, calaveras figurines, candles and photos of the deceased fill out the rest of traditional altars.\u003c/p>\n\u003cfigure id=\"attachment_11626710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26.jpg\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-800x600.jpg\" alt='Lilia Olson entitled her altar \"Memories.\" ' width=\"800\" height=\"600\" class=\"size-medium wp-image-11626710\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Lilia Olson entitled her altar \"Memories.\" It is filled with photos, calaveras and other items important to her loved ones. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut.jpg\">\u003cimg class=\"size-medium wp-image-11626727\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-800x600.jpg\" alt=\"Artist Gonzalo Hildago included a reference to DACA -- or Deferred Action for Childhood Arrivals -- on his altar. It was an allusion to President Donald Trump's decision to end the program that allows undocumented immigrants brought to the country as children to obtain legal status.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Gonzalo Hildago included a reference to DACA -- or Deferred Action for Childhood Arrivals -- on his altar. It was an allusion to President Donald Trump's decision to end the program that allows undocumented immigrants brought to the country as children to obtain legal status. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut.jpg\">\u003cimg class=\"size-medium wp-image-11626725\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-800x600.jpg\" alt=\"Artist Alicia Diaz included a tree of butterflies with the names of loved ones on her altar. Monarch butterflies are thought to help guide spirits home.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Alicia Diaz included a tree of butterflies with the names of loved ones on her altar. Monarch butterflies are thought to help guide spirits home. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626711\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-800x600.jpg\" alt=\"Aztec dancers helped open the 2017 festivities. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aztec ritual dancers helped open the festival on 12th Street outside the Fruitvale BART station. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626713\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-800x600.jpg\" alt=\"Whisper Torres, 17, and Leilani Holley, 13, came to the festival to perform as part of the dance group Lak’Ech. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whisper Torres, 17, and Leilani Holley, 13, came to the festival to perform as part of the dance group In Lak’Ech. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626714\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-800x600.jpg\" alt=\"Jennifer Hale and Lorenzo Ortiz had their faces painted as Dia de los Muertos skulls. They were among the many young people at the festival. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Hale and Lorenzo Ortiz had their faces painted as calaveras skulls. They were among the many young people at the festival. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626715\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-800x600.jpg\" alt=\"This altar was created on the hood of a car. Altars are a way to honor the memory of loved ones. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This altar was created on the hood of a car. Altars are a way to honor the memory of loved ones. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626717\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-800x600.jpg\" alt=\"This is part of an altar by the Oakland Workers' Collective called "honrando la vida y muerte de los immigrantes." \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is part of an altar by the Oakland Workers' Collective called \"Honrando la vida y muerte de los immigrantes.\" It means \"honoring the life and death of immigrants.\" \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Organizers say more than 60,000 people came to downtown Fruitvale to celebrate the Mexican holiday of Dia de los Muertos.",
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"description": "Organizers say more than 60,000 people came to downtown Fruitvale to celebrate the Mexican holiday of Dia de los Muertos.",
"title": "PHOTOS: Thousands Celebrate Dia de los Muertos in Oakland | KQED",
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"headline": "PHOTOS: Thousands Celebrate Dia de los Muertos in Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dia de los Muertos, or Day of the Dead, dates back nearly 3,000 years ago, to the Aztecs in Central America. The Mexican holiday, which honors and remembers the dead, was originally celebrated in the summer, but after a few hundred years and some mixing of Spanish Catholicism, it now takes place in the fall. \u003c/p>\n\u003cp>This year, the holiday falls on Oct. 31 and Nov. 1.\u003c/p>\n\u003cp>In the Bay Area, community Day of the Dead celebrations are becoming more popular including the annual Dia de los Muertos Festival in Oakland, which is put on by the Unity Council. Organizers say the outdoor festival regularly attracts more than 60,000 people to downtown Fruitvale. This year's festival -- held on Sunday, Oct. 29 -- was the 22nd and included traditional Aztec dancing, live music, more than 100 Latin American vendors and 30 altars designed by local artists.\u003c/p>\n\u003cp>A large part of Dia de los Muertos includes building altars, or \u003cem>ofrendas\u003c/em>, to loved ones who have died. They’re filled with items that are thought to help guide spirits back home like attractive and fragrant yellow and orange marigolds. Copal and salvia incense is also often burned.\u003c/p>\n\u003cp>And of course, favorite foods of the dead, like avocados and apples, are laid out along with brightly colored sugar skulls, calaveras figurines, candles and photos of the deceased fill out the rest of traditional altars.\u003c/p>\n\u003cfigure id=\"attachment_11626710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26.jpg\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-800x600.jpg\" alt='Lilia Olson entitled her altar \"Memories.\" ' width=\"800\" height=\"600\" class=\"size-medium wp-image-11626710\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-26-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Lilia Olson entitled her altar \"Memories.\" It is filled with photos, calaveras and other items important to her loved ones. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut.jpg\">\u003cimg class=\"size-medium wp-image-11626727\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-800x600.jpg\" alt=\"Artist Gonzalo Hildago included a reference to DACA -- or Deferred Action for Childhood Arrivals -- on his altar. It was an allusion to President Donald Trump's decision to end the program that allows undocumented immigrants brought to the country as children to obtain legal status.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27801_Image-uploaded-from-iOS-5-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Gonzalo Hildago included a reference to DACA -- or Deferred Action for Childhood Arrivals -- on his altar. It was an allusion to President Donald Trump's decision to end the program that allows undocumented immigrants brought to the country as children to obtain legal status. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut.jpg\">\u003cimg class=\"size-medium wp-image-11626725\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-800x600.jpg\" alt=\"Artist Alicia Diaz included a tree of butterflies with the names of loved ones on her altar. Monarch butterflies are thought to help guide spirits home.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27798_Image-uploaded-from-iOS-8-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Alicia Diaz included a tree of butterflies with the names of loved ones on her altar. Monarch butterflies are thought to help guide spirits home. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626711\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-800x600.jpg\" alt=\"Aztec dancers helped open the 2017 festivities. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-22-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aztec ritual dancers helped open the festival on 12th Street outside the Fruitvale BART station. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626713\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-800x600.jpg\" alt=\"Whisper Torres, 17, and Leilani Holley, 13, came to the festival to perform as part of the dance group Lak’Ech. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-27-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whisper Torres, 17, and Leilani Holley, 13, came to the festival to perform as part of the dance group In Lak’Ech. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626714\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-800x600.jpg\" alt=\"Jennifer Hale and Lorenzo Ortiz had their faces painted as Dia de los Muertos skulls. They were among the many young people at the festival. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-20-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Hale and Lorenzo Ortiz had their faces painted as calaveras skulls. They were among the many young people at the festival. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626715\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-800x600.jpg\" alt=\"This altar was created on the hood of a car. Altars are a way to honor the memory of loved ones. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-19-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This altar was created on the hood of a car. Altars are a way to honor the memory of loved ones. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11626717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626717\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-800x600.jpg\" alt=\"This is part of an altar by the Oakland Workers' Collective called "honrando la vida y muerte de los immigrantes." \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Image-uploaded-from-iOS-21-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is part of an altar by the Oakland Workers' Collective called \"Honrando la vida y muerte de los immigrantes.\" It means \"honoring the life and death of immigrants.\" \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Meet the Berkeley Man Who Helped Lead the Disability Rights Movement",
"title": "Meet the Berkeley Man Who Helped Lead the Disability Rights Movement",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003ci>“Hale” is a new short documentary film about \u003ca href=\"http://bancroft.berkeley.edu/collections/drilm/collection/items/zukas.html\">Hale Zukas\u003c/a>, who helped make Berkeley the birthplace of the disability rights movement. He was diagnosed with cerebral palsy as a child. He went on to study Russian and math at UC Berkeley in the 1970s and he helped found Berkeley’s groundbreaking \u003ca href=\"http://www.thecil.org/\">Center for Independent Living\u003c/a>, which has become a nationwide model.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Filmmaker Brad Bailey made the documentary as his thesis project at UC Berkeley’s Graduate School of Journalism. He just picked up a Student Academy Award for the project, joining some big names like Spike Lee and Robert Zemeckis. He spoke with Sasha Khokha, host of The California Report Magazine. What follows are some excerpts from their radio interview. \u003c/i>\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/10/Hale2Way.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Hale-Crop.jpg\" Title=\"Meet the Berkeley Man Who Helped Lead the Disability Rights Movement\" program=\"The California Report\"]\u003c/p>\n\u003cp>\u003cb>On choosing to tell the story of Hale Zukas: \u003c/b>\u003c/p>\n\u003cp>I was heading to school to return some equipment one day, and I saw this interesting man in a wheelchair in the courtyard of the journalism school. When I saw him, I could tell that he had overcome a lot of obstacles, despite whatever perceived limitations people may think he has. There was something very witty and very intelligent about him. He’s got a wicked sense of humor, that came out immediately. And then I found out later that he was one of the country’s premier disability rights activists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>How disability touched Bailey's own life, and influenced his decision to make the film:\u003c/b>\u003c/p>\n\u003cp>When I was 15, my dad had an accident. He got hit by a Mack Truck driving down the expressway. That changed my childhood forever. When that happened, disability affected me and my family firsthand. Disability touches everybody. Nobody is immune from that. No matter your race, your gender, your sexuality, disability is universal. It affects everyone. Hale’s work affected everything from ramp to curb cuts, to the way we build buildings today.\u003c/p>\n\u003cfigure id=\"attachment_11626613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1.jpg\">\u003cimg class=\"size-medium wp-image-11626613\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-800x571.jpg\" alt='Hale Zukas (left) speaks with director Brad Bailey for his award-winning documentary \"Hale.\"' width=\"800\" height=\"571\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-800x571.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-1020x728.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-1180x843.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-960x686.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-240x171.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-375x268.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hale Zukas (left) speaks with director Brad Bailey for his award-winning documentary \"Hale.\" \u003ccite>(Photo courtesy of Brad Bailey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the challenges of making this film when the main subject can’t speak, but uses a pointer, attached to a helmet, to indicate words on a board: \u003c/b>\u003c/p>\n\u003cp>That was our particular challenge with this film. How do you communicate the brilliance, and wittiness, and insight of a man who can’t verbally communicate? I had to go through my own transformation through my filming with Hale. I learned patience. I learned to sit down and to be able to listen to every single letter he was pointing to and understand what he was communicating to me. I wanted to show in a 20-minute film what I went through in six months. I wanted to obliterate whatever preconceptions people have about people with disabilities. If you get up in the morning and you have life in you, you can achieve whatever challenge that you face.\u003c/p>\n\u003cfigure id=\"attachment_11626614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626614\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-800x571.jpg\" alt=\"Filmmaker Brad Bailey affixed a camera to Hale Zukas’ wheelchair, to show his perspective as he zooms around the Bay Area.\" width=\"800\" height=\"571\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-800x571.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-1020x728.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-1180x843.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-960x686.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-240x171.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-375x268.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Brad Bailey affixed a camera to Hale Zukas’ wheelchair, to show his perspective as he zooms around the Bay Area. \u003ccite>(Photo courtesy of Brad Bailey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On why Hale agreed to affix a camera to his wheelchair and have a filmmaker follow him through his day:\u003c/strong>\u003c/p>\n\u003cp>Hale is brilliant, and he can also read people. He knew I was going through my own challenge with my own family with disabilities. He recognized there was something I was trying to understand, and understand in him. Hale is a civil rights hero, but his story hasn’t really been out there. His goal was to build an infrastructure where he could move around independently. And now he’s benefiting from the fruits of that labor. I think he allowed me to do this story because he knows it would continue that advocacy and continue to show what people with disabilities are capable of doing.\u003c/p>\n\u003cp>\u003cb>On California and the Bay Area’s pivotal role in the disability rights movement:\u003c/b>\u003c/p>\n\u003cp>Hale was always there, every single day. He dealt with the nuts and bolts of advocacy and policy. If you look through the extensive oral history archive at UC Berkeley’s Bancroft Library about the disability rights movement, you see that people like Judy Heumann and Ed Roberts were the mouthpieces, but Hale was the workhorse. He started writing \u003ca href=\"http://oac.cdlib.org/findaid/ark:/13030/tf796nb2t9/\">advocacy and policy papers \u003c/a>from the early 1970s. He was instrumental in the first bill which allowed people to hire and fire their own attendants.\u003c/p>\n\u003cfigure id=\"attachment_11626615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626615\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-800x571.jpg\" alt=\"Disability rights activists in the Bay Area in the 1970s, lobbying for federal protections. Hale Zekas is on the left.\" width=\"800\" height=\"571\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-800x571.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-1020x728.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-1180x843.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-960x686.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-240x171.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-375x268.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Disability rights activists in the Bay Area in the 1970s, lobbying for federal protections. Hale Zukas is on the left. \u003ccite>(Film still courtesy of Brad Bailey.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you look at the San Francisco BART system, for example, Hale was the one they consulted with to design things to be accessible. The buttons on all the elevators were really designed by Hale. He had direct input into things like the height, the location of the button. The Bay Area was used as a model worldwide for transit accessibility.\u003c/p>\n\u003cp>\u003cb>On a scene in the film when the BART elevator is out, and Hale has to get back on a train to go to a station with a working elevator. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s important to show this happens every single day, all over the country. When an elevator is out for you and me that can walk and go up the stairs, it's no big deal. But for other people, it is. Hale was 40 minutes late to the transit accessibility board meeting on that day when the elevator went out. He was able to relate that experience specifically to the people that make those decisions. He was able to go straight to their ear to effect change.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>“Hale” is a new short documentary film about \u003ca href=\"http://bancroft.berkeley.edu/collections/drilm/collection/items/zukas.html\">Hale Zukas\u003c/a>, who helped make Berkeley the birthplace of the disability rights movement. He was diagnosed with cerebral palsy as a child. He went on to study Russian and math at UC Berkeley in the 1970s and he helped found Berkeley’s groundbreaking \u003ca href=\"http://www.thecil.org/\">Center for Independent Living\u003c/a>, which has become a nationwide model.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Filmmaker Brad Bailey made the documentary as his thesis project at UC Berkeley’s Graduate School of Journalism. He just picked up a Student Academy Award for the project, joining some big names like Spike Lee and Robert Zemeckis. He spoke with Sasha Khokha, host of The California Report Magazine. What follows are some excerpts from their radio interview. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>On choosing to tell the story of Hale Zukas: \u003c/b>\u003c/p>\n\u003cp>I was heading to school to return some equipment one day, and I saw this interesting man in a wheelchair in the courtyard of the journalism school. When I saw him, I could tell that he had overcome a lot of obstacles, despite whatever perceived limitations people may think he has. There was something very witty and very intelligent about him. He’s got a wicked sense of humor, that came out immediately. And then I found out later that he was one of the country’s premier disability rights activists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>How disability touched Bailey's own life, and influenced his decision to make the film:\u003c/b>\u003c/p>\n\u003cp>When I was 15, my dad had an accident. He got hit by a Mack Truck driving down the expressway. That changed my childhood forever. When that happened, disability affected me and my family firsthand. Disability touches everybody. Nobody is immune from that. No matter your race, your gender, your sexuality, disability is universal. It affects everyone. Hale’s work affected everything from ramp to curb cuts, to the way we build buildings today.\u003c/p>\n\u003cfigure id=\"attachment_11626613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1.jpg\">\u003cimg class=\"size-medium wp-image-11626613\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-800x571.jpg\" alt='Hale Zukas (left) speaks with director Brad Bailey for his award-winning documentary \"Hale.\"' width=\"800\" height=\"571\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-800x571.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-1020x728.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-1180x843.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-960x686.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-240x171.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-375x268.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27724_HALE_prod_BB_H_5x7_300dpi-qut-1-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hale Zukas (left) speaks with director Brad Bailey for his award-winning documentary \"Hale.\" \u003ccite>(Photo courtesy of Brad Bailey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the challenges of making this film when the main subject can’t speak, but uses a pointer, attached to a helmet, to indicate words on a board: \u003c/b>\u003c/p>\n\u003cp>That was our particular challenge with this film. How do you communicate the brilliance, and wittiness, and insight of a man who can’t verbally communicate? I had to go through my own transformation through my filming with Hale. I learned patience. I learned to sit down and to be able to listen to every single letter he was pointing to and understand what he was communicating to me. I wanted to show in a 20-minute film what I went through in six months. I wanted to obliterate whatever preconceptions people have about people with disabilities. If you get up in the morning and you have life in you, you can achieve whatever challenge that you face.\u003c/p>\n\u003cfigure id=\"attachment_11626614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626614\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-800x571.jpg\" alt=\"Filmmaker Brad Bailey affixed a camera to Hale Zukas’ wheelchair, to show his perspective as he zooms around the Bay Area.\" width=\"800\" height=\"571\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-800x571.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-1020x728.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-1180x843.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-960x686.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-240x171.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-375x268.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27727_Hale_ProdStill_H_2-qut-1-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Brad Bailey affixed a camera to Hale Zukas’ wheelchair, to show his perspective as he zooms around the Bay Area. \u003ccite>(Photo courtesy of Brad Bailey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On why Hale agreed to affix a camera to his wheelchair and have a filmmaker follow him through his day:\u003c/strong>\u003c/p>\n\u003cp>Hale is brilliant, and he can also read people. He knew I was going through my own challenge with my own family with disabilities. He recognized there was something I was trying to understand, and understand in him. Hale is a civil rights hero, but his story hasn’t really been out there. His goal was to build an infrastructure where he could move around independently. And now he’s benefiting from the fruits of that labor. I think he allowed me to do this story because he knows it would continue that advocacy and continue to show what people with disabilities are capable of doing.\u003c/p>\n\u003cp>\u003cb>On California and the Bay Area’s pivotal role in the disability rights movement:\u003c/b>\u003c/p>\n\u003cp>Hale was always there, every single day. He dealt with the nuts and bolts of advocacy and policy. If you look through the extensive oral history archive at UC Berkeley’s Bancroft Library about the disability rights movement, you see that people like Judy Heumann and Ed Roberts were the mouthpieces, but Hale was the workhorse. He started writing \u003ca href=\"http://oac.cdlib.org/findaid/ark:/13030/tf796nb2t9/\">advocacy and policy papers \u003c/a>from the early 1970s. He was instrumental in the first bill which allowed people to hire and fire their own attendants.\u003c/p>\n\u003cfigure id=\"attachment_11626615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626615\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-800x571.jpg\" alt=\"Disability rights activists in the Bay Area in the 1970s, lobbying for federal protections. Hale Zekas is on the left.\" width=\"800\" height=\"571\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-800x571.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-1020x728.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-1180x843.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-960x686.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-240x171.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-375x268.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27722_Hale_4shot_archival_5x7_300dpi-qut-1-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Disability rights activists in the Bay Area in the 1970s, lobbying for federal protections. Hale Zukas is on the left. \u003ccite>(Film still courtesy of Brad Bailey.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you look at the San Francisco BART system, for example, Hale was the one they consulted with to design things to be accessible. The buttons on all the elevators were really designed by Hale. He had direct input into things like the height, the location of the button. The Bay Area was used as a model worldwide for transit accessibility.\u003c/p>\n\u003cp>\u003cb>On a scene in the film when the BART elevator is out, and Hale has to get back on a train to go to a station with a working elevator. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s important to show this happens every single day, all over the country. When an elevator is out for you and me that can walk and go up the stairs, it's no big deal. But for other people, it is. Hale was 40 minutes late to the transit accessibility board meeting on that day when the elevator went out. He was able to relate that experience specifically to the people that make those decisions. He was able to go straight to their ear to effect change.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A Day of the Dead Tradition Blooms in the Central Valley",
"title": "A Day of the Dead Tradition Blooms in the Central Valley",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>In some California communities with roots in Latin America, especially Mexico, the last days of October are spent getting ready for \u003ca href=\"https://www.nationalgeographic.org/media/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener\">Day of the Dead\u003c/a>. That means making altars for loved ones and covering them with marigolds.\u003c/p>\n\u003cp>With their flashy color and strong perfume, marigolds help spirits find their way back to their families. At least that’s one theory about why they’re the \u003cem>flor de muerto\u003c/em> -- the flower of the dead.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/10/Marigolds.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Antonio-2-1180x787.jpg\" Title=\"A Day of the Dead Tradition Blooms in the Central Valley\" program=\"The California Report\"]\u003c/p>\n\u003cp>These bright orange blooms aren’t always easy to find, and Central Valley farmer Antonio Chavez is trying to change that. He's growing them for people like him, who are longing for a piece of home.\u003c/p>\n\u003cp>For Chavez these aren't marigolds, they're \u003ca href=\"http://www.gdn.unam.mx/termino/search?queryCreiterio=cempohualxochitl&modulo=termino&action=search&queryEnDiccionarios%5B%5D=15&queryPartePalabra=inic\" target=\"_blank\" rel=\"noopener\">\u003cem>cempasuchils\u003c/em>, a word with Nahuatl origins. \u003c/a> He never thought much about why cempasuchils are so important, he just knew they were. \"It’s the tradition our grandparents handed down,\" he says. \"The flowers are sacred. They’re essential for Day of the Dead.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chavez and his parents left Oaxaca, Mexico, a decade ago, and missed celebrating like they did back home. So a couple of years ago they started growing marigolds in Kerman, a small town outside Fresno.\u003c/p>\n\u003cp>They farm a few acres along a country road; mostly squash and chilies with a few rows of fiery flowers mixed in.\u003c/p>\n\u003cp>\"The first year we just planted a small amount for ourselves,\" Chavez says, \"but then people started coming by saying 'Sell us some.' \"\u003c/p>\n\u003cp>So many people bought flowers that the family ran out. This year Chavez planted more. His family still gets first dibs.\u003c/p>\n\u003cfigure id=\"attachment_11626500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626500\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Antonio-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio Chavez picks out a few especially beautiful flowers, like the ones he'll use for his family's Day of the Dead altar. \u003ccite>(Vanessa Rancano/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the last day of October they’ll pick the flowers and make big arches out of them to place over the altar. They'll arrange others in the shape of a cross. Then they’ll set out fruits and sweets for Chavez's sister, who died as a child, and tamales and mole for the grandparents who once taught him these traditions.\u003c/p>\n\u003cp>For Chavez these rituals are especially important now that his hometown in Oaxaca has been abandoned.\u003c/p>\n\u003cp>Life was hard there, he says: no TV, no phones, no money. But he describes it as a beautiful place tucked into a green mountain valley.\u003c/p>\n\u003cp>When he was young there was a school there, and lots of kids. Now, he says, \"there's nothing.\"\u003c/p>\n\u003cp>Only the elderly are left, because they couldn’t make the trip across the border to the U.S. \"Sometimes it makes me sad to know that in a few years there won't be anyone left in the town.\"\u003c/p>\n\u003cp>But Chavez says growing these marigolds makes him feel like at least he’s sharing the spirit of the place with his fellow immigrants.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Everything has changed,\" he says, \"but we haven’t. We haven’t changed who we are.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In some California communities with roots in Latin America, especially Mexico, the last days of October are spent getting ready for \u003ca href=\"https://www.nationalgeographic.org/media/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener\">Day of the Dead\u003c/a>. That means making altars for loved ones and covering them with marigolds.\u003c/p>\n\u003cp>With their flashy color and strong perfume, marigolds help spirits find their way back to their families. At least that’s one theory about why they’re the \u003cem>flor de muerto\u003c/em> -- the flower of the dead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These bright orange blooms aren’t always easy to find, and Central Valley farmer Antonio Chavez is trying to change that. He's growing them for people like him, who are longing for a piece of home.\u003c/p>\n\u003cp>For Chavez these aren't marigolds, they're \u003ca href=\"http://www.gdn.unam.mx/termino/search?queryCreiterio=cempohualxochitl&modulo=termino&action=search&queryEnDiccionarios%5B%5D=15&queryPartePalabra=inic\" target=\"_blank\" rel=\"noopener\">\u003cem>cempasuchils\u003c/em>, a word with Nahuatl origins. \u003c/a> He never thought much about why cempasuchils are so important, he just knew they were. \"It’s the tradition our grandparents handed down,\" he says. \"The flowers are sacred. They’re essential for Day of the Dead.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chavez and his parents left Oaxaca, Mexico, a decade ago, and missed celebrating like they did back home. So a couple of years ago they started growing marigolds in Kerman, a small town outside Fresno.\u003c/p>\n\u003cp>They farm a few acres along a country road; mostly squash and chilies with a few rows of fiery flowers mixed in.\u003c/p>\n\u003cp>\"The first year we just planted a small amount for ourselves,\" Chavez says, \"but then people started coming by saying 'Sell us some.' \"\u003c/p>\n\u003cp>So many people bought flowers that the family ran out. This year Chavez planted more. His family still gets first dibs.\u003c/p>\n\u003cfigure id=\"attachment_11626500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11626500\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/Antonio-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/Antonio-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio Chavez picks out a few especially beautiful flowers, like the ones he'll use for his family's Day of the Dead altar. \u003ccite>(Vanessa Rancano/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the last day of October they’ll pick the flowers and make big arches out of them to place over the altar. They'll arrange others in the shape of a cross. Then they’ll set out fruits and sweets for Chavez's sister, who died as a child, and tamales and mole for the grandparents who once taught him these traditions.\u003c/p>\n\u003cp>For Chavez these rituals are especially important now that his hometown in Oaxaca has been abandoned.\u003c/p>\n\u003cp>Life was hard there, he says: no TV, no phones, no money. But he describes it as a beautiful place tucked into a green mountain valley.\u003c/p>\n\u003cp>When he was young there was a school there, and lots of kids. Now, he says, \"there's nothing.\"\u003c/p>\n\u003cp>Only the elderly are left, because they couldn’t make the trip across the border to the U.S. \"Sometimes it makes me sad to know that in a few years there won't be anyone left in the town.\"\u003c/p>\n\u003cp>But Chavez says growing these marigolds makes him feel like at least he’s sharing the spirit of the place with his fellow immigrants.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Everything has changed,\" he says, \"but we haven’t. We haven’t changed who we are.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">When Anna Sweet of \u003ca href=\"http://www.sweetfarm.org\" target=\"_blank\" rel=\"noopener noreferrer\">Sweet Farm\u003c/a> got the call in the middle of the night, she said she’d be happy to take in emergency guests fleeing the fires in Sonoma County. And then realized she needed to get up and get busy.\u003c/span>\u003c/p>\n\u003cp>“We were not set up yet for pigs at all,” Sweet recalls. “We didn’t have a shelter for them. We weren’t quite sure our fences were going to work.”\u003c/p>\n\u003cp>They did need to build new fencing. Not to embarrass these fine ladies, but Gertrude weighs about 600 pounds and Punky’s just a wee bit smaller than that.\u003c/p>\n\u003cfigure id=\"attachment_11625489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11625489 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-800x450.jpg\" alt=\"Punky and her buddy Gertrude have found refuge from the North Bay Fires in Half Moon Bay at Sweet Ranch, a non-profit farm animal sanctuary.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Punky and her buddy, Gertrude, have found refuge from the North Bay Fires in Half Moon Bay at Sweet Ranch, a nonprofit farm animal sanctuary. \u003ccite>(Courtesy of Chris McCann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These porcine refugees came from \u003ca href=\"https://www.charliesacres.org\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie’s Acres\u003c/a>, escaping the Partrick Fire. Charlie’s Acres, like Sweet Farm, is a nonprofit farm animal sanctuary. They provide a “forever” home for all kinds of animals that would otherwise be headed for slaughter, including chickens, llamas and horses.\u003c/p>\n\u003cp>“Sheep and goats and a few, probably more, cows, and then definitely on the pig side, we’re ready,” Sweet adds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some animals are “liberated” — or stolen, depending on your perspective — from industrial farms. A lot of bulls and roosters are rescued in this fashion. Other animals are given up for adoption or abandoned, often when families are surprised to discover an animal they procured when small has grown quite large.\u003c/p>\n\u003cfigure id=\"attachment_11625490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11625490 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-800x450.jpg\" alt=\"You can't ask just anyone to babysit two 600 lb pigs. Tracy Vogt (left) of Charlie's Acres in Sonoma County knew she could count on Anna Sweet and Nate Salpeter of Sweet Farm to help out in a pinch. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">You can’t ask just anyone to baby-sit two 600-lb pigs. Tracy Vogt (left) of Charlie’s Acres in Sonoma County knew she could count on Anna Sweet and Nate Salpeter of Sweet Farm to help out in a pinch. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gertrude was found wandering around during a wildfire: the 2016 Blue Cut Fire in San Bernardino County. Tracy Vogt of Charlie’s Acres explains, “Somebody had just left her there when they were evacuating. She had a burned back hoof. She had smoke inhalation issues, and hadn’t eaten or drank anything for three days.”\u003c/p>\n\u003cp>Now Gertrude is a fire survivor twice over. For Vogt, the help from Sweet Farm is sweet in more ways than one. The fire was on her property when the animals were shuttled away in trucks and trailers. Her barn and fences burned, and it’s going to take some time to get the electricity up and running again.\u003c/p>\n\u003cp>“I feel very lucky. I feel very blessed that we were able to get the animals to a really nice spot. And it was really cool to see that the community stepped in and helped each other out,” Vogt says.\u003c/p>\n\u003cfigure id=\"attachment_11625494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11625494\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-800x450.jpg\" alt=\"Paco the llama is almost 10 years old and good friends with the steers and horse at Sweet Farm. The reasons why animals end up at a sanctuary are as varied as the animals themselves. Paco came from a horse farm where he was getting attacked by neighborhood dogs.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paco the llama is almost 10 years old and good friends with the steers and horse at Sweet Farm. The reasons why animals end up at a sanctuary are as varied as the animals themselves. Paco came from a horse farm where he was getting attacked by neighborhood dogs. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Sweet, who like her husband, Nate Salpeter, has a day job in tech, this nonprofit work is what feeds the soul.\u003c/p>\n\u003cp>“I like coming home and turning everything off and focusing on the animals and the land. It’s a good balance,” Sweet says. The couple gets help paying for this passion project from fans and members who come out for tours and classes. Their \u003ca href=\"https://www.facebook.com/SweetFarmCA/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> boasts more than 86,000 followers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another sanctuary near Sweet Farm is housing Vogt’s chickens and ducks. Now that Vogt’s brood is safely settled, she and Sweet are turning their attention to anyone else who needs help with housing and supplies for farm animals in the wake of the North Bay wildfires. Vogt has set up a \u003ca href=\"https://www.gofundme.com/z2brs-sonoma-fire-victims\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a> to further that mission.\u003c/p>\n\n",
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"excerpt": "The farm animal sanctuary community has rallied to help animals left homeless by the deadly North Bay fires.",
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"title": "Pigs Fleeing North Bay Fires Find Refuge in Half Moon Bay | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">When Anna Sweet of \u003ca href=\"http://www.sweetfarm.org\" target=\"_blank\" rel=\"noopener noreferrer\">Sweet Farm\u003c/a> got the call in the middle of the night, she said she’d be happy to take in emergency guests fleeing the fires in Sonoma County. And then realized she needed to get up and get busy.\u003c/span>\u003c/p>\n\u003cp>“We were not set up yet for pigs at all,” Sweet recalls. “We didn’t have a shelter for them. We weren’t quite sure our fences were going to work.”\u003c/p>\n\u003cp>They did need to build new fencing. Not to embarrass these fine ladies, but Gertrude weighs about 600 pounds and Punky’s just a wee bit smaller than that.\u003c/p>\n\u003cfigure id=\"attachment_11625489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11625489 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-800x450.jpg\" alt=\"Punky and her buddy Gertrude have found refuge from the North Bay Fires in Half Moon Bay at Sweet Ranch, a non-profit farm animal sanctuary.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27691_Charlies20Acres-12028129-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Punky and her buddy, Gertrude, have found refuge from the North Bay Fires in Half Moon Bay at Sweet Ranch, a nonprofit farm animal sanctuary. \u003ccite>(Courtesy of Chris McCann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These porcine refugees came from \u003ca href=\"https://www.charliesacres.org\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie’s Acres\u003c/a>, escaping the Partrick Fire. Charlie’s Acres, like Sweet Farm, is a nonprofit farm animal sanctuary. They provide a “forever” home for all kinds of animals that would otherwise be headed for slaughter, including chickens, llamas and horses.\u003c/p>\n\u003cp>“Sheep and goats and a few, probably more, cows, and then definitely on the pig side, we’re ready,” Sweet adds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some animals are “liberated” — or stolen, depending on your perspective — from industrial farms. A lot of bulls and roosters are rescued in this fashion. Other animals are given up for adoption or abandoned, often when families are surprised to discover an animal they procured when small has grown quite large.\u003c/p>\n\u003cfigure id=\"attachment_11625490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11625490 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-800x450.jpg\" alt=\"You can't ask just anyone to babysit two 600 lb pigs. Tracy Vogt (left) of Charlie's Acres in Sonoma County knew she could count on Anna Sweet and Nate Salpeter of Sweet Farm to help out in a pinch. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27695_IMG_3487-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">You can’t ask just anyone to baby-sit two 600-lb pigs. Tracy Vogt (left) of Charlie’s Acres in Sonoma County knew she could count on Anna Sweet and Nate Salpeter of Sweet Farm to help out in a pinch. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gertrude was found wandering around during a wildfire: the 2016 Blue Cut Fire in San Bernardino County. Tracy Vogt of Charlie’s Acres explains, “Somebody had just left her there when they were evacuating. She had a burned back hoof. She had smoke inhalation issues, and hadn’t eaten or drank anything for three days.”\u003c/p>\n\u003cp>Now Gertrude is a fire survivor twice over. For Vogt, the help from Sweet Farm is sweet in more ways than one. The fire was on her property when the animals were shuttled away in trucks and trailers. Her barn and fences burned, and it’s going to take some time to get the electricity up and running again.\u003c/p>\n\u003cp>“I feel very lucky. I feel very blessed that we were able to get the animals to a really nice spot. And it was really cool to see that the community stepped in and helped each other out,” Vogt says.\u003c/p>\n\u003cfigure id=\"attachment_11625494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11625494\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-800x450.jpg\" alt=\"Paco the llama is almost 10 years old and good friends with the steers and horse at Sweet Farm. The reasons why animals end up at a sanctuary are as varied as the animals themselves. Paco came from a horse farm where he was getting attacked by neighborhood dogs.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/RS27694_IMG_3476-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paco the llama is almost 10 years old and good friends with the steers and horse at Sweet Farm. The reasons why animals end up at a sanctuary are as varied as the animals themselves. Paco came from a horse farm where he was getting attacked by neighborhood dogs. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Sweet, who like her husband, Nate Salpeter, has a day job in tech, this nonprofit work is what feeds the soul.\u003c/p>\n\u003cp>“I like coming home and turning everything off and focusing on the animals and the land. It’s a good balance,” Sweet says. The couple gets help paying for this passion project from fans and members who come out for tours and classes. Their \u003ca href=\"https://www.facebook.com/SweetFarmCA/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> boasts more than 86,000 followers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another sanctuary near Sweet Farm is housing Vogt’s chickens and ducks. Now that Vogt’s brood is safely settled, she and Sweet are turning their attention to anyone else who needs help with housing and supplies for farm animals in the wake of the North Bay wildfires. Vogt has set up a \u003ca href=\"https://www.gofundme.com/z2brs-sonoma-fire-victims\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a> to further that mission.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fire-ravaged-santa-rosa-turns-to-hockey-for-respite",
"title": "Fire-Ravaged Santa Rosa Turns to Hockey for Respite",
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"headTitle": "Fire-Ravaged Santa Rosa Turns to Hockey for Respite | KQED",
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"content": "\u003cp>For one Sunday, the \u003ca href=\"http://kqed.org/wildfires\" target=\"_blank\" rel=\"noopener\">fires\u003c/a> that staggered this small city and wiped out thousands of homes were an afterthought at Snoopy’s Home Ice in Santa Rosa.\u003c/p>\n\u003cp>In an ice rink built by Peanuts cartoon creator \u003ca href=\"https://ww2.kqed.org/arts/2017/10/12/wildfire-burns-home-of-peanuts-creator-charles-schulz/\" target=\"_blank\" rel=\"noopener\">Charles Schulz\u003c/a>, hundreds of 7- and 8-year-olds gathered to play the annual Great Halloween Jamboree tournament, a daylong hockey tournament that brought the Santa Rosa community together after the devastation.\u003c/p>\n\u003cp>The annual tournament routinely attracts dozens of the youngest hockey players throughout the area. Canceling the event this year was considered — and then quickly rejected.\u003c/p>\n\u003cp>Organizers found ways to work through a weeklong power outage that melted the ice, a lack of motel space and burned-up gear for 19 hockey families who lost their homes.\u003c/p>\n\u003cp>[contextly_sidebar id=”0C58AKetjKCqNyTiDLVd10sVmz7lnuRz”]\u003c/p>\n\u003cp>The nearby San Jose Sharks of the National Hockey League donated new skates and gear to the affected families. A Santa Rosa coach also owns a local pizza parlor, which donated pizza for lunch. Families greeted each other with hugs as their children returned to the ice for the first time since the fires started the night of Oct. 8, killing at least 43 people and destroying more than 8,000 buildings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We needed to be here,” said Rebecca Henderson, one of the tournament’s organizers.\u003c/p>\n\u003cp>Many more families aside from those who lost their homes have endured damage and displacement, she said.\u003c/p>\n\u003cp>The family of Daniel Chang, 8, prevailed upon the police to escort them to their smoke-damaged home still within a mandatory evacuation zone so they could retrieve his hockey equipment. Nearly all the homes in their Fountain Grove neighborhood were destroyed. They have been barred from returning to their house until law enforcement officials lift the evacuation order.\u003c/p>\n\u003cp>“The tournament is a welcome distraction,” said Seohee Cho, Chang’s mother.\u003c/p>\n\u003cfigure id=\"attachment_11625505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-800x1031.jpg\" alt=\"The Redwood Empire Ice Arena in Santa Rosa, better-known as Snoopy's Home Ice.\" width=\"800\" height=\"1031\" class=\"size-medium wp-image-11625505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-800x1031.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-1020x1314.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-1180x1520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-960x1237.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-375x483.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-520x670.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Redwood Empire Ice Arena in Santa Rosa, better-known as Snoopy’s Home Ice. \u003ccite>(cplbasilisk/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charles Schulz, a Minnesota native who lived in Santa Rosa and was a hockey fanatic, financed the building of the rink in 1969 in the same complex that houses the Peanuts museum. The rink helped turn the small city about 50 miles north of San Francisco into an unlikely hockey haven. Schulz’s No. 9 Santa Rosa Flyer jersey is the only jersey hanging from the rafters.\u003c/p>\n\u003cp>Nearby buildings were destroyed in the fire, but the rink and its Warm Puppy Cafe came through unscathed.\u003c/p>\n\u003cp>The Wagner family lost two homes in one of the hardest-hit Santa Rosa neighborhoods. They fled their new home of 10 months with little more than the clothes on their back, and their eldest son did the same in their older home a few blocks away, which they were trying to sell. The two Harley Davidson motorcycles in the garage were destroyed with everything else.\u003c/p>\n\u003cp>Everything was lost, including 8-year-old Daniel Wagner’s pet bunny and his hockey gear. School remains closed until next week.\u003c/p>\n\u003cp>“It’s terrible to be 8 years old and have to run out of your house with nothing,” Daniel’s father David Wagner said. “He has no toys, no Legos … nothing.”\u003c/p>\n\u003cp>David Wagner said Daniel’s participation in the hockey tournament Sunday “was definitely needed.” He said Daniel suffers from nightmares of fire and evacuation. Anything that reminds him of his routine before the fire is welcome.\u003c/p>\n\u003cp>Standing in his shiny new skates and holding his new stick, Daniel said life may never be the same after the fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I miss my old skates,” he said, still vowing to play professional hockey someday. “I miss my old stick.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For one Sunday, the \u003ca href=\"http://kqed.org/wildfires\" target=\"_blank\" rel=\"noopener\">fires\u003c/a> that staggered this small city and wiped out thousands of homes were an afterthought at Snoopy’s Home Ice in Santa Rosa.\u003c/p>\n\u003cp>In an ice rink built by Peanuts cartoon creator \u003ca href=\"https://ww2.kqed.org/arts/2017/10/12/wildfire-burns-home-of-peanuts-creator-charles-schulz/\" target=\"_blank\" rel=\"noopener\">Charles Schulz\u003c/a>, hundreds of 7- and 8-year-olds gathered to play the annual Great Halloween Jamboree tournament, a daylong hockey tournament that brought the Santa Rosa community together after the devastation.\u003c/p>\n\u003cp>The annual tournament routinely attracts dozens of the youngest hockey players throughout the area. Canceling the event this year was considered — and then quickly rejected.\u003c/p>\n\u003cp>Organizers found ways to work through a weeklong power outage that melted the ice, a lack of motel space and burned-up gear for 19 hockey families who lost their homes.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The nearby San Jose Sharks of the National Hockey League donated new skates and gear to the affected families. A Santa Rosa coach also owns a local pizza parlor, which donated pizza for lunch. Families greeted each other with hugs as their children returned to the ice for the first time since the fires started the night of Oct. 8, killing at least 43 people and destroying more than 8,000 buildings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We needed to be here,” said Rebecca Henderson, one of the tournament’s organizers.\u003c/p>\n\u003cp>Many more families aside from those who lost their homes have endured damage and displacement, she said.\u003c/p>\n\u003cp>The family of Daniel Chang, 8, prevailed upon the police to escort them to their smoke-damaged home still within a mandatory evacuation zone so they could retrieve his hockey equipment. Nearly all the homes in their Fountain Grove neighborhood were destroyed. They have been barred from returning to their house until law enforcement officials lift the evacuation order.\u003c/p>\n\u003cp>“The tournament is a welcome distraction,” said Seohee Cho, Chang’s mother.\u003c/p>\n\u003cfigure id=\"attachment_11625505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-800x1031.jpg\" alt=\"The Redwood Empire Ice Arena in Santa Rosa, better-known as Snoopy's Home Ice.\" width=\"800\" height=\"1031\" class=\"size-medium wp-image-11625505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-800x1031.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-1020x1314.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-1180x1520.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-960x1237.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-375x483.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/10/SnoopyHomeIce-520x670.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Redwood Empire Ice Arena in Santa Rosa, better-known as Snoopy’s Home Ice. \u003ccite>(cplbasilisk/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charles Schulz, a Minnesota native who lived in Santa Rosa and was a hockey fanatic, financed the building of the rink in 1969 in the same complex that houses the Peanuts museum. The rink helped turn the small city about 50 miles north of San Francisco into an unlikely hockey haven. Schulz’s No. 9 Santa Rosa Flyer jersey is the only jersey hanging from the rafters.\u003c/p>\n\u003cp>Nearby buildings were destroyed in the fire, but the rink and its Warm Puppy Cafe came through unscathed.\u003c/p>\n\u003cp>The Wagner family lost two homes in one of the hardest-hit Santa Rosa neighborhoods. They fled their new home of 10 months with little more than the clothes on their back, and their eldest son did the same in their older home a few blocks away, which they were trying to sell. The two Harley Davidson motorcycles in the garage were destroyed with everything else.\u003c/p>\n\u003cp>Everything was lost, including 8-year-old Daniel Wagner’s pet bunny and his hockey gear. School remains closed until next week.\u003c/p>\n\u003cp>“It’s terrible to be 8 years old and have to run out of your house with nothing,” Daniel’s father David Wagner said. “He has no toys, no Legos … nothing.”\u003c/p>\n\u003cp>David Wagner said Daniel’s participation in the hockey tournament Sunday “was definitely needed.” He said Daniel suffers from nightmares of fire and evacuation. Anything that reminds him of his routine before the fire is welcome.\u003c/p>\n\u003cp>Standing in his shiny new skates and holding his new stick, Daniel said life may never be the same after the fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I miss my old skates,” he said, still vowing to play professional hockey someday. “I miss my old stick.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>#MeToo: Organizing to End Sexual Harassment\u003cbr>\n\u003c/strong>Hollywood has been forced to take a hard look at itself as sexual assault allegations against Harvey Weinstein spiraled into a scandal. This week, women in California politics added their voices: More than 140 women, from lobbyists to elected officials, signed a letter calling out the culture of sexual harassment and assault in the halls of state government.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guests:\u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Marisa Lagos, KQED politics and government reporter\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Pamela Lopez, K Street Consulting partner\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">State Sen. Nancy Skinner (D-Berkeley)\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Hazardous Wildfire Waste\u003cbr>\n\u003c/strong>In the wake of the devastating California wildfires, another hazard remains: toxic chemicals left lingering in the ash and debris. We’ll hear about what threats they pose to residents and the environment.\u003c/p>\n\u003cp>Guests:\u003c/p>\n\u003cul>\n\u003cli>Dr. Robert Blount, UCSF professor of pulmonology\u003c/li>\n\u003cli>Christine Sosko, Sonoma County director of environmental health\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Ai Weiwei’s “Human Flow”\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: inherit\">Chinese dissident and artist Ai Weiwei has long tackled politically controversial subjects, from government corruption to incarceration at Alcatraz Island. His latest film, “Human Flow,” tackles the global refugee crisis. KQED’s Monica Lam talks to Ai about the film, which opens in Bay Area theaters this weekend.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "The 'Church of Type' Spreads the Gospel of Letterpress",
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"content": "\u003cp>If Johannes Gutenberg or Ben Franklin walked off of Pico Boulevard and into Kevin Bradley’s Santa Monica shop, they’d feel pretty much at home.\u003c/p>\n\u003cp>“It's keeping that direct connection to the past alive in a contemporary fashion, but this doesn't exist in L.A.,” says Bradley. “It's been pure madness to come here and do this alone and try and make it work.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I just do it by hand... I’m a dinosaur. But it’s satisfying. It’s so satisfying to make something that you feel good about.'\u003c/aside>\n\u003cp>Like those old school giants of the printing world, Bradley is a master of the handset \u003ca href=\"https://www.britannica.com/technology/letterpress-printing\">letterpress\u003c/a>. After two decades working in Tennessee -- including a stint at the famed Hatch Show Print design company in Nashville -- he came to California five years ago to carry on the sacred tradition in his storefront studio, the Church of Type.\u003c/p>\n\u003cp>The higher power is obvious the minute you enter this holy place. The walls and ceiling are covered with posters heralding classic country, blues and soul singers and prints boldly announcing wrestlers, robots, civil rights heroes, pork chops, Communists and Bigfoot.\u003c/p>\n\u003cp>It’s a sensory overload, like hundreds of people screaming at your eyeballs in big block letters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/10/ChurchOfType.mp3\" Image=\"https://u.s.kqed.net/2017/10/20/ChurchofType.jpg\" Title=\"The Church of Type Spreads the Gospel of Letterpress\" program=\"The California Report\"]\u003c/p>\n\u003cp>There are trays of ancient of fonts, massive drawers heavy with metal type, and at the heart of it all, the enormous machines that speak a mechanical language from a time gone by.\u003c/p>\n\u003cp>“The printing presses, one's called Baby and one's called Maimy because she pinched my finger off once,” Bradley says. “But they all have personalities, idiosyncrasies; they're temperamental. They want some love.”\u003c/p>\n\u003cp>That’s not something you would say about a cold, silent, brushed steel laptop.\u003c/p>\n\u003cp>“I'm the only guy who's 100 percent no computer,” says Bradley. “I just do it by hand, I carve wood blocks or set type. I have over 2,000 fonts of type in here from six point to three feet tall. And so I'm a traditionalist in that way. I’m a dinosaur. But it's satisfying. It's so satisfying to make something that you feel good about.”\u003c/p>\n\u003cp>Bradley’s pouring a teaspoon of black ink onto the roller of a machine the size of buffalo, which creates a sound that pretty much mimics the sizzle of bacon frying. He’s making a poster for \u003ca href=\"https://www.lucindawilliams.com/\">Lucinda Williams\u003c/a> right now. It’s taken him two full days just to set the type. He scrapes off excess ink bumps -- 'hickeys' in print shop talk -- with a razor blade and his finger.\u003c/p>\n\u003cp>“Everyone thinks this is so glamorous when they come in here,” he says. “But you know, I'm a dirty monkey every day with ink all over me, and my clothes are ruined. And that's how glamorous it is, you know? I'm a glorified janitor in most ways.”\u003c/p>\n\u003cfigure id=\"attachment_11624940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11624940\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27567_kevin-3-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Bradley holds a 200-year-old \"K,\" used on a recent poster he created for musician Lucinda Williams. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bradley has the janitor look down pat. He wears a rumpled work shirt with the sleeves rolled up, and his splattered jeans look like a printing press threw up on them. But the shoes are a different story: vintage black and white wing tips that could have come from the closet of a Tennessee Williams lawyer.\u003c/p>\n\u003cp>There’s ink on the shoes too, but it goes with the work. And one-man-show Bradley certainly works, often seven days a week, well into the night as James Brown, Will Oldham and George Jones keep him company blasting from the stereo. He designs and prints everything from business cards to album covers to wedding invitations.\u003c/p>\n\u003cp>For the last decade he’s created posters for the \u003ca href=\"http://www.ponderosastomp.com/\">Ponderosa Stomp\u003c/a>, the yearly New Orleans roots music festival.\u003c/p>\n\u003cp>“To be honest, when he does posters for the Stomp, I don't even know what they are until he sends them to me,” says Dr. Ike Padnos, who founded the Stomp. He became a Church of Type disciple after seeing Bradley’s posters displayed at New Orleans’ \u003ca href=\"http://www.nojazzfest.com/\">Jazz Fest\u003c/a>.\u003c/p>\n\u003cp>“It was that old school letterpress that just was so cool,” reveals Padnos. “People don't do that anymore. And then he's just taken it to another level and started going back and doing posters that almost look like the ‘50s and ‘60s with the coloring and photos, and the subject matter. Here was a guy doing wrestling stuff. You'd see the Ox. I mean, who puts the Ox on posters? Who puts Link Wray on posters? Who puts Robert Johnson on posters? It’s things that people weren’t doing at the time that made it so cool.”\u003c/p>\n\u003cp>But Bradley also creates pieces for himself, unexpected combinations of words, images, block print and primitive, outsider drawings. It’s striking, raw and original stuff, but is it art?\u003c/p>\n\u003cp>“I think that Kevin does make art and is an artist. It’s not his fault that he’s not rich and famous,” says painter and musician \u003ca href=\"http://www.bobneuwirth.com/\">Bob Neuwirth\u003c/a>. He produced the traditional country music documentary \"\u003ca href=\"https://phfilms.com/films/down-from-the-mountain/\">Down From the Mountain\u003c/a>,\" hiring Bradley to do some design work.\u003c/p>\n\u003cp>“One of the things that might be standing in Kevin's way is his authenticity,” continues Neuwirth. “I mean, he actually means it. I better keep my mouth shut after saying that, but part of what goes with being an artist are the vicissitudes of the art world.”\u003c/p>\n\u003cfigure id=\"attachment_11625098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/InsidePrintShop-800x990.jpg\" alt=\"Kevin Bradley with one of his larger letterpress works at his Santa Monica-based Church of Type.\" width=\"800\" height=\"990\" class=\"size-medium wp-image-11625098\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-800x990.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-160x198.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-1020x1262.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-1180x1460.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-960x1188.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-240x297.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-375x464.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-520x644.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Bradley with one of his larger letterpress works at his Santa Monica-based Church of Type. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My overriding idea coming to L.A. with this was I wanted to present letterpress as an art form,” Bradley says.\u003c/p>\n\u003cp>The Los Angeles art community apparently didn’t see it that way.\u003c/p>\n\u003cp>“I haven't fit into the art scene proper hardly at all. I'm such an outsider, I work on the outside of almost everything, but I can live there and do my thing.”\u003c/p>\n\u003cp>But he won’t be doing his thing in Los Angeles much longer. Bradley, who shares a Tennessee hometown and a passion for coonskin caps with the late Davy Crockett, will soon be returning to his roots.\u003c/p>\n\u003cp>“You know, it works better in the South and I think I'll be moving back there as my lease comes up here next year,” he says. “You can afford real estate, you can afford to live. It's a labor of love to be here. There's no money to be made. I wanted to share this so much with L.A. and I'm so glad I did, but they just never seen it before, and I don't know that they'll see a big operation like this again.”\u003c/p>\n\u003cp>With 30 tons of equipment to haul, relocating the Church will be a tribulation to be reckoned with. But moving the spirit behind the place is an effortless task for a man driven by faith.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I want it to live and breathe and get people excited about it,” Bradley says. “And usually if I can get'em in my door I can win 'em over and at least sell 'em a poster on the way out. So that's just the uphill battle that we're all going to face with it, is trying to keep it alive.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Johannes Gutenberg or Ben Franklin walked off of Pico Boulevard and into Kevin Bradley’s Santa Monica shop, they’d feel pretty much at home.\u003c/p>\n\u003cp>“It's keeping that direct connection to the past alive in a contemporary fashion, but this doesn't exist in L.A.,” says Bradley. “It's been pure madness to come here and do this alone and try and make it work.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I just do it by hand... I’m a dinosaur. But it’s satisfying. It’s so satisfying to make something that you feel good about.'\u003c/aside>\n\u003cp>Like those old school giants of the printing world, Bradley is a master of the handset \u003ca href=\"https://www.britannica.com/technology/letterpress-printing\">letterpress\u003c/a>. After two decades working in Tennessee -- including a stint at the famed Hatch Show Print design company in Nashville -- he came to California five years ago to carry on the sacred tradition in his storefront studio, the Church of Type.\u003c/p>\n\u003cp>The higher power is obvious the minute you enter this holy place. The walls and ceiling are covered with posters heralding classic country, blues and soul singers and prints boldly announcing wrestlers, robots, civil rights heroes, pork chops, Communists and Bigfoot.\u003c/p>\n\u003cp>It’s a sensory overload, like hundreds of people screaming at your eyeballs in big block letters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are trays of ancient of fonts, massive drawers heavy with metal type, and at the heart of it all, the enormous machines that speak a mechanical language from a time gone by.\u003c/p>\n\u003cp>“The printing presses, one's called Baby and one's called Maimy because she pinched my finger off once,” Bradley says. “But they all have personalities, idiosyncrasies; they're temperamental. They want some love.”\u003c/p>\n\u003cp>That’s not something you would say about a cold, silent, brushed steel laptop.\u003c/p>\n\u003cp>“I'm the only guy who's 100 percent no computer,” says Bradley. “I just do it by hand, I carve wood blocks or set type. I have over 2,000 fonts of type in here from six point to three feet tall. And so I'm a traditionalist in that way. I’m a dinosaur. But it's satisfying. It's so satisfying to make something that you feel good about.”\u003c/p>\n\u003cp>Bradley’s pouring a teaspoon of black ink onto the roller of a machine the size of buffalo, which creates a sound that pretty much mimics the sizzle of bacon frying. He’s making a poster for \u003ca href=\"https://www.lucindawilliams.com/\">Lucinda Williams\u003c/a> right now. It’s taken him two full days just to set the type. He scrapes off excess ink bumps -- 'hickeys' in print shop talk -- with a razor blade and his finger.\u003c/p>\n\u003cp>“Everyone thinks this is so glamorous when they come in here,” he says. “But you know, I'm a dirty monkey every day with ink all over me, and my clothes are ruined. And that's how glamorous it is, you know? I'm a glorified janitor in most ways.”\u003c/p>\n\u003cfigure id=\"attachment_11624940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11624940\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/RS27567_kevin-3-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/RS27567_kevin-3-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Bradley holds a 200-year-old \"K,\" used on a recent poster he created for musician Lucinda Williams. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bradley has the janitor look down pat. He wears a rumpled work shirt with the sleeves rolled up, and his splattered jeans look like a printing press threw up on them. But the shoes are a different story: vintage black and white wing tips that could have come from the closet of a Tennessee Williams lawyer.\u003c/p>\n\u003cp>There’s ink on the shoes too, but it goes with the work. And one-man-show Bradley certainly works, often seven days a week, well into the night as James Brown, Will Oldham and George Jones keep him company blasting from the stereo. He designs and prints everything from business cards to album covers to wedding invitations.\u003c/p>\n\u003cp>For the last decade he’s created posters for the \u003ca href=\"http://www.ponderosastomp.com/\">Ponderosa Stomp\u003c/a>, the yearly New Orleans roots music festival.\u003c/p>\n\u003cp>“To be honest, when he does posters for the Stomp, I don't even know what they are until he sends them to me,” says Dr. Ike Padnos, who founded the Stomp. He became a Church of Type disciple after seeing Bradley’s posters displayed at New Orleans’ \u003ca href=\"http://www.nojazzfest.com/\">Jazz Fest\u003c/a>.\u003c/p>\n\u003cp>“It was that old school letterpress that just was so cool,” reveals Padnos. “People don't do that anymore. And then he's just taken it to another level and started going back and doing posters that almost look like the ‘50s and ‘60s with the coloring and photos, and the subject matter. Here was a guy doing wrestling stuff. You'd see the Ox. I mean, who puts the Ox on posters? Who puts Link Wray on posters? Who puts Robert Johnson on posters? It’s things that people weren’t doing at the time that made it so cool.”\u003c/p>\n\u003cp>But Bradley also creates pieces for himself, unexpected combinations of words, images, block print and primitive, outsider drawings. It’s striking, raw and original stuff, but is it art?\u003c/p>\n\u003cp>“I think that Kevin does make art and is an artist. It’s not his fault that he’s not rich and famous,” says painter and musician \u003ca href=\"http://www.bobneuwirth.com/\">Bob Neuwirth\u003c/a>. He produced the traditional country music documentary \"\u003ca href=\"https://phfilms.com/films/down-from-the-mountain/\">Down From the Mountain\u003c/a>,\" hiring Bradley to do some design work.\u003c/p>\n\u003cp>“One of the things that might be standing in Kevin's way is his authenticity,” continues Neuwirth. “I mean, he actually means it. I better keep my mouth shut after saying that, but part of what goes with being an artist are the vicissitudes of the art world.”\u003c/p>\n\u003cfigure id=\"attachment_11625098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/10/InsidePrintShop-800x990.jpg\" alt=\"Kevin Bradley with one of his larger letterpress works at his Santa Monica-based Church of Type.\" width=\"800\" height=\"990\" class=\"size-medium wp-image-11625098\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-800x990.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-160x198.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-1020x1262.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-1180x1460.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-960x1188.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-240x297.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-375x464.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/10/InsidePrintShop-520x644.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Bradley with one of his larger letterpress works at his Santa Monica-based Church of Type. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My overriding idea coming to L.A. with this was I wanted to present letterpress as an art form,” Bradley says.\u003c/p>\n\u003cp>The Los Angeles art community apparently didn’t see it that way.\u003c/p>\n\u003cp>“I haven't fit into the art scene proper hardly at all. I'm such an outsider, I work on the outside of almost everything, but I can live there and do my thing.”\u003c/p>\n\u003cp>But he won’t be doing his thing in Los Angeles much longer. Bradley, who shares a Tennessee hometown and a passion for coonskin caps with the late Davy Crockett, will soon be returning to his roots.\u003c/p>\n\u003cp>“You know, it works better in the South and I think I'll be moving back there as my lease comes up here next year,” he says. “You can afford real estate, you can afford to live. It's a labor of love to be here. There's no money to be made. I wanted to share this so much with L.A. and I'm so glad I did, but they just never seen it before, and I don't know that they'll see a big operation like this again.”\u003c/p>\n\u003cp>With 30 tons of equipment to haul, relocating the Church will be a tribulation to be reckoned with. But moving the spirit behind the place is an effortless task for a man driven by faith.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I want it to live and breathe and get people excited about it,” Bradley says. “And usually if I can get'em in my door I can win 'em over and at least sell 'em a poster on the way out. So that's just the uphill battle that we're all going to face with it, is trying to keep it alive.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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