'Jump Higher, Spin Faster': Olympic Figure Skater Tai Babilonia on Her Rise to Fame
Blues Town: Remembering Russell City
A ‘Rare’ Archive of Angela Davis’ Life On Display At OMCA
Oakland Tattoo Artist Starts a Movement to Ink Pansies in Support of Trans Rights
'We Have to Be Our Own Shield': SF's LGBTQ+ Community Honors Victims of the Pulse and Club Q Shootings in New Memorial
'We Are Here and Present': New Native American Mural in Golden Gate Park, Despite Recent Vandalism, Continues Efforts to Uplift Bay Area Native History
How to Get Free Museum Entry This Saturday Sept. 17
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src=\"https://playlist.megaphone.fm/?e=KQINC6480280563\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I’m Ericka Cruz Guevarra, and welcome to the Bay. Happy Valentine’s Day, everyone. San Francisco gets a lot of hate, but you don’t get to hate it unless you love it. And one person I know who loves San Francisco is my colleague, Carlos Cabrera-Lomelí, who proudly reps the Mission District.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It was just such a place where they were characters everywhere. It was definitely a feeling of like, everyone could do what they want or just be themselves.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Carlos has seen the neighborhood through a lot of changes over the years. Stores closing, childhood friends priced out and beloved murals getting painted over. This Valentine’s Day, Carlos shares with us a story of one mural he loved dearly and what it meant to lose it. Stay with us.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>I’m Carlos Cabrera-Lomelí, and I’m the community engagement reporter with KQED. So my family first arrived in the Bay area when I was seven. We moved to Oakland. Back then it was myself, my mom, and at the time my stepdad. During that time, my little brother was born. We’re eight years apart. A few months later, when we moved to Hayward and and Hayward, things took a turn for the worst.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>My stepdad. He did things that made my mom and myself unsafe emotionally and physically hurting us. And it got to a point where my mom decided to leave and come to San Francisco, because here there are several really, really amazing, incredibly helpful and generous shelters for moms and their kids. The reason we moved to San Francisco wasn’t a very happy one.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It was a very painful one, but it was also the start of a really, really amazing relationship with a place that welcomed us with a lot of people who worked really hard to make sure that we were safe and that we have what we needed. We first moved to Hays Valley, and that’s where we were for over a year and a shelter. And when I was ten, we made it to the mission where I still call home. At that time I was starting middle school.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>My middle school was in the Fillmore in the Western addition. It was a KIPP school, which for folks unfamiliar, that’s a charter school system, a very, very like disciplined charter school system. We had to be in school from 730 to 5. But as soon as it was five, the way that we would, like, run out like rats out of the school building to just hang out to like, run around for the kids who lived in the mission, you know, we’d get on the 22 and then eventually, you know, the 14, the 49 there.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>They’re these huge busses, these long, super long busses, and they’re like kind of like two busses, like connected. And the back, the windows were a thing where all you had to do was push them and they would open up, and there were these huge windows and we would always be parting. None of us had like real speakers, but we all had like, radios. We like blasting like radio music and then like doing other stuff that you weren’t supposed to do in our bus.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>And then as soon as, like, you know, the driver would get mad at us. We’d all, like, jump out from those windows. Seeing friends, you know, like, hold onto the back of the bus because they were on their skateboards and they would just, like, grab on the back of the bus, and the bus would just, you know, like, ferry them through the mission.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>There are definitely things that maybe things my friends and I were doing pretty early on that we shouldn’t have been doing. But it’s always been a very active, super colorful, super noisy, super loud part of the city, which I love. I was born and raised in Mexico City. Also, I’m very loud and very colorful and just very chaotic city. I knew I wanted to be back where there was just kids playing in the street, busses moving all the time, cars, music, am.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>Mission Street has always been that. I was ten years old when I first saw Al Fuego or Cease Fire by Juan Alisha on the corner of Mission Street and 21st Street. It’s immediately. What stood out to me was that it was the face like a kid. And this kid, he was standing on this beautiful, beautiful field. And there’s mountains and it looks so humid and green and just lush. But in front of him, there’s many, many machine guns pointing at him.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>But what’s separating him from the machine? Guns are two hands, huge hands. And you can’t see whose hands they are. They just appear in front of the kid. The kid is looking at you, and it’s very much like a mona Lisa effect, where no matter where you are on the intersection, it felt like he was looking at you. You know, they weren’t angry, they weren’t happy, they weren’t sad, but they were just eyes full of a very strong emotion.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>That immediately struck me. You know the element like, why are guns pointing at this kid? Who is he and who are those hands? Now, the mural was showing a moment where, like, a kid was in danger. But this force, these hands came and defended him. I’ve always been very protective of my mom. We were very close. At that time, I brother was only one when we left the situation with my stepdad. I made a promise that I would always protect them.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong> Seeing a visual representation of hands coming to protect someone vulnerable, it’s showing me that it is possible and that I’m also in a place that believes in it, that strongly believes in it. You know, again, this wasn’t in a random alley. It was in the heart of this neighborhood. Tens of thousands of people must have walked past it every single day. Juan Alicia painted ceasefire in 1988.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>There was a lot of armed conflicts throughout the region of Central America and in Honduras. There was a very active American intervention, and the mural was actually set in the fields of Honduras. Many of the folks left and came to San Francisco. You’ve had families coming from Central America for 40, 50 years. Many other parts of the US are seeing folks come from Central America, and it’s like the first wave.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>But San Francisco is a place where you see, you know, two, three, four generations of Central American families here. And one Alysia in 1988 decides to paint a mural. Calling for a cease fire and a protection of civilians in Honduras. And that’s what we see. We see a young boy who represents the vulnerable civilian population of Honduras.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>Being protected, being shielded away from a lot of the violence, a lot of the guns, a lot of the armaments that were being brought in thanks to American imperialism, American foreign policy objectives. You know, as I became, I feel like more and more San Franciscan, I learned that that is history of folks coming from Central America to create a sanctuary, a safe space for their homes, for their families here in the city. It really connected? With what?\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>The reason that my family had come San Francisco. I first found out that the mural was the face through my mom. I’m out comes and I’m in high school. And she says, you can’t believe what happened to Juan Alice’s mural. And the next day I go check it out. And sure enough, someone had scribbled, I think, something like toy across it. A couple days later, more tagging happens on it and there was no explanation.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It wasn’t necessarily something like frustrating, but really just like a why why someone would do this to something so beautiful and important. As I understand Juan Alisha raised funds to try to rehabilitate the mural, but at the end of the day, then it happened. And then years later, the property owners commissioned another mural on top of it. And it’s the painting of a horse. The horses isn’t like doing anything or jumping over a fence or anything.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It’s just the horse, and it’s like standing on a beach or empty field and that’s about it. I really do think that it doesn’t have the same context and the same message. And I’ve definitely been in many conversations with people that are like, why is there a horse there and what? But years later, the horse is still there. So I guess it’s part of us now too.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>One of my favorite things to do when I go running throughout the mission is because I have a list of favorite murals I like to see, and there are some murals are no longer exist, but I think that that is the one that I it’s the most. Years later, I actually got to see a version of the mural one more time. And this was at an exhibition organized by the San Francisco Arts Commission. They included one of the original sketches that Juan Alicia had made of the mural, and it wasn’t huge.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It was like maybe three feet by four feet and there wasn’t any color. But you know the boy. He looked at you with the same intensity. The landscape was still as beautiful as it was when I first looked at it. I couldn’t believe it. I couldn’t believe that I was seeing it after such a long time. I never thought I was going to see them like a version of that mural again.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>So much had happened since I had last seen it. I went to college, I graduated. I became a journalist. I learned so many things about myself and seeing it again. It was like coming back into contact with that younger version of me, and I realized, whoa, it doesn’t necessarily have the same grounding effect as it did before, but I think that’s okay. You know, so much has changed for the better.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>My family, you know, we’ve obviously become a lot more stable. And we’ve been we’ve been able to grow. You know, my mom has been able to continue her career. My brother’s about to go to college. I. You know, I’ve been able to find a career I love. When we first came into this city, you know, we had so little and just so many, just the worries and anxieties and then seeing it again on the other side.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>I really appreciate that opportunity. When I think about this mural now. One of the things. That stands out is how San Francisco, this little place, specifically the mission, this little neighborhood, its place in the history of so many. Movements. So much organizing is just really, really cool. It just it shows you that this is in like the DNA of the community, of the neighborhood, of the Bay.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong> I think it’s really cool when art, when public art can teach it again, because I came in as I’ve had no idea about any of this history, that I was like standing on sacred ground, pretty much. S.F. and the Bay. There’s always going to be tough spots and periods of transformation. But we have to have love for this version of San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>I feel like San Francisco had faith in me and my family when we first came in. Right? And I’m not someone who, you know, drops a ball or leaves the court when things are getting a little, a little tougher. Things are not going to get better if the people that love it stop loving it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Carlos Cabrera-Lomelí, a community engagement reporter for KQED. This 40 minute conversation with Carlos was pitched, cut down, and edited by producer Maria Esquinca, with additional production and editing support from senior editor Alan Montecillo and me, who scored this episode. Our intern is Ellie Prickett-Morgan. Music courtesy of First Come Music Audio Network and blew down sessions. And I’m Ericka Cruz Guevarra. Thanks for listening. And from all of us here at the Bay. Happy Valentine’s Day.\u003c/p>\n\n","blocks":[],"excerpt":"In a special Valentine's Day episode, KQED's Carlos Cabrera-Lomeli talks about a particular mural that he loves and remembers dearly.","status":"publish","parent":0,"modified":1709248809,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":2365},"headData":{"title":"Loving and Losing a Mural in the Mission | KQED","description":"In a special Valentine's Day episode, KQED's Carlos Cabrera-Lomeli talks about a particular mural that he loves and remembers dearly.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Loving and Losing a Mural in the Mission","datePublished":"2024-02-14T11:00:20.000Z","dateModified":"2024-02-29T23:20:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"The Bay","sourceUrl":"https://www.kqed.org/podcasts/thebay","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC6480280563.mp3?updated=1707866834","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11975756/loving-and-losing-a-mural-in-the-mission","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This Valentine’s Day, KQED community engagement reporter Carlos Cabrera-Lomeli joins us to talk about growing up in San Francisco’s Mission District — and one particular mural that he loves and remembers dearly.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6480280563\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I’m Ericka Cruz Guevarra, and welcome to the Bay. Happy Valentine’s Day, everyone. San Francisco gets a lot of hate, but you don’t get to hate it unless you love it. And one person I know who loves San Francisco is my colleague, Carlos Cabrera-Lomelí, who proudly reps the Mission District.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It was just such a place where they were characters everywhere. It was definitely a feeling of like, everyone could do what they want or just be themselves.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Carlos has seen the neighborhood through a lot of changes over the years. Stores closing, childhood friends priced out and beloved murals getting painted over. This Valentine’s Day, Carlos shares with us a story of one mural he loved dearly and what it meant to lose it. Stay with us.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>I’m Carlos Cabrera-Lomelí, and I’m the community engagement reporter with KQED. So my family first arrived in the Bay area when I was seven. We moved to Oakland. Back then it was myself, my mom, and at the time my stepdad. During that time, my little brother was born. We’re eight years apart. A few months later, when we moved to Hayward and and Hayward, things took a turn for the worst.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>My stepdad. He did things that made my mom and myself unsafe emotionally and physically hurting us. And it got to a point where my mom decided to leave and come to San Francisco, because here there are several really, really amazing, incredibly helpful and generous shelters for moms and their kids. The reason we moved to San Francisco wasn’t a very happy one.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It was a very painful one, but it was also the start of a really, really amazing relationship with a place that welcomed us with a lot of people who worked really hard to make sure that we were safe and that we have what we needed. We first moved to Hays Valley, and that’s where we were for over a year and a shelter. And when I was ten, we made it to the mission where I still call home. At that time I was starting middle school.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>My middle school was in the Fillmore in the Western addition. It was a KIPP school, which for folks unfamiliar, that’s a charter school system, a very, very like disciplined charter school system. We had to be in school from 730 to 5. But as soon as it was five, the way that we would, like, run out like rats out of the school building to just hang out to like, run around for the kids who lived in the mission, you know, we’d get on the 22 and then eventually, you know, the 14, the 49 there.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>They’re these huge busses, these long, super long busses, and they’re like kind of like two busses, like connected. And the back, the windows were a thing where all you had to do was push them and they would open up, and there were these huge windows and we would always be parting. None of us had like real speakers, but we all had like, radios. We like blasting like radio music and then like doing other stuff that you weren’t supposed to do in our bus.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>And then as soon as, like, you know, the driver would get mad at us. We’d all, like, jump out from those windows. Seeing friends, you know, like, hold onto the back of the bus because they were on their skateboards and they would just, like, grab on the back of the bus, and the bus would just, you know, like, ferry them through the mission.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>There are definitely things that maybe things my friends and I were doing pretty early on that we shouldn’t have been doing. But it’s always been a very active, super colorful, super noisy, super loud part of the city, which I love. I was born and raised in Mexico City. Also, I’m very loud and very colorful and just very chaotic city. I knew I wanted to be back where there was just kids playing in the street, busses moving all the time, cars, music, am.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>Mission Street has always been that. I was ten years old when I first saw Al Fuego or Cease Fire by Juan Alisha on the corner of Mission Street and 21st Street. It’s immediately. What stood out to me was that it was the face like a kid. And this kid, he was standing on this beautiful, beautiful field. And there’s mountains and it looks so humid and green and just lush. But in front of him, there’s many, many machine guns pointing at him.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>But what’s separating him from the machine? Guns are two hands, huge hands. And you can’t see whose hands they are. They just appear in front of the kid. The kid is looking at you, and it’s very much like a mona Lisa effect, where no matter where you are on the intersection, it felt like he was looking at you. You know, they weren’t angry, they weren’t happy, they weren’t sad, but they were just eyes full of a very strong emotion.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>That immediately struck me. You know the element like, why are guns pointing at this kid? Who is he and who are those hands? Now, the mural was showing a moment where, like, a kid was in danger. But this force, these hands came and defended him. I’ve always been very protective of my mom. We were very close. At that time, I brother was only one when we left the situation with my stepdad. I made a promise that I would always protect them.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong> Seeing a visual representation of hands coming to protect someone vulnerable, it’s showing me that it is possible and that I’m also in a place that believes in it, that strongly believes in it. You know, again, this wasn’t in a random alley. It was in the heart of this neighborhood. Tens of thousands of people must have walked past it every single day. Juan Alicia painted ceasefire in 1988.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>There was a lot of armed conflicts throughout the region of Central America and in Honduras. There was a very active American intervention, and the mural was actually set in the fields of Honduras. Many of the folks left and came to San Francisco. You’ve had families coming from Central America for 40, 50 years. Many other parts of the US are seeing folks come from Central America, and it’s like the first wave.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>But San Francisco is a place where you see, you know, two, three, four generations of Central American families here. And one Alysia in 1988 decides to paint a mural. Calling for a cease fire and a protection of civilians in Honduras. And that’s what we see. We see a young boy who represents the vulnerable civilian population of Honduras.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>Being protected, being shielded away from a lot of the violence, a lot of the guns, a lot of the armaments that were being brought in thanks to American imperialism, American foreign policy objectives. You know, as I became, I feel like more and more San Franciscan, I learned that that is history of folks coming from Central America to create a sanctuary, a safe space for their homes, for their families here in the city. It really connected? With what?\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>The reason that my family had come San Francisco. I first found out that the mural was the face through my mom. I’m out comes and I’m in high school. And she says, you can’t believe what happened to Juan Alice’s mural. And the next day I go check it out. And sure enough, someone had scribbled, I think, something like toy across it. A couple days later, more tagging happens on it and there was no explanation.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It wasn’t necessarily something like frustrating, but really just like a why why someone would do this to something so beautiful and important. As I understand Juan Alisha raised funds to try to rehabilitate the mural, but at the end of the day, then it happened. And then years later, the property owners commissioned another mural on top of it. And it’s the painting of a horse. The horses isn’t like doing anything or jumping over a fence or anything.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It’s just the horse, and it’s like standing on a beach or empty field and that’s about it. I really do think that it doesn’t have the same context and the same message. And I’ve definitely been in many conversations with people that are like, why is there a horse there and what? But years later, the horse is still there. So I guess it’s part of us now too.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>One of my favorite things to do when I go running throughout the mission is because I have a list of favorite murals I like to see, and there are some murals are no longer exist, but I think that that is the one that I it’s the most. Years later, I actually got to see a version of the mural one more time. And this was at an exhibition organized by the San Francisco Arts Commission. They included one of the original sketches that Juan Alicia had made of the mural, and it wasn’t huge.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>It was like maybe three feet by four feet and there wasn’t any color. But you know the boy. He looked at you with the same intensity. The landscape was still as beautiful as it was when I first looked at it. I couldn’t believe it. I couldn’t believe that I was seeing it after such a long time. I never thought I was going to see them like a version of that mural again.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>So much had happened since I had last seen it. I went to college, I graduated. I became a journalist. I learned so many things about myself and seeing it again. It was like coming back into contact with that younger version of me, and I realized, whoa, it doesn’t necessarily have the same grounding effect as it did before, but I think that’s okay. You know, so much has changed for the better.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>My family, you know, we’ve obviously become a lot more stable. And we’ve been we’ve been able to grow. You know, my mom has been able to continue her career. My brother’s about to go to college. I. You know, I’ve been able to find a career I love. When we first came into this city, you know, we had so little and just so many, just the worries and anxieties and then seeing it again on the other side.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>I really appreciate that opportunity. When I think about this mural now. One of the things. That stands out is how San Francisco, this little place, specifically the mission, this little neighborhood, its place in the history of so many. Movements. So much organizing is just really, really cool. It just it shows you that this is in like the DNA of the community, of the neighborhood, of the Bay.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong> I think it’s really cool when art, when public art can teach it again, because I came in as I’ve had no idea about any of this history, that I was like standing on sacred ground, pretty much. S.F. and the Bay. There’s always going to be tough spots and periods of transformation. But we have to have love for this version of San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Carlos Cabrera-Lomelí: \u003c/strong>I feel like San Francisco had faith in me and my family when we first came in. Right? And I’m not someone who, you know, drops a ball or leaves the court when things are getting a little, a little tougher. Things are not going to get better if the people that love it stop loving it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Carlos Cabrera-Lomelí, a community engagement reporter for KQED. This 40 minute conversation with Carlos was pitched, cut down, and edited by producer Maria Esquinca, with additional production and editing support from senior editor Alan Montecillo and me, who scored this episode. Our intern is Ellie Prickett-Morgan. Music courtesy of First Come Music Audio Network and blew down sessions. And I’m Ericka Cruz Guevarra. Thanks for listening. And from all of us here at the Bay. Happy Valentine’s Day.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11975756/loving-and-losing-a-mural-in-the-mission","authors":["8654","11708","11802","11898","11649"],"categories":["news_8"],"tags":["news_20257","news_5270","news_1247","news_38","news_22598","news_2301"],"featImg":"news_11975800","label":"source_news_11975756"},"news_11968911":{"type":"posts","id":"news_11968911","meta":{"index":"posts_1591205157","site":"news","id":"11968911","score":null,"sort":[1701653400000]},"guestAuthors":[],"slug":"fauxes-peaches","title":"Fauxes: 'Peaches'","publishDate":1701653400,"format":"standard","headTitle":"Fauxes: ‘Peaches’ | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Scarlett Levinson and Fauxes bandmates Nick Bielak, Daniel Loor, and Dan March have been playing music together since 2019. The friends met at UC Berkeley in the co-op housing, and sang in choir together.\u003c/p>\n\u003cp>After that, Levinson said, they “went on this kind of garage rock, shoegazy, psychedelic path,” inspired by the San Francisco and Bay Area underground music scene.\u003c/p>\n\u003cp>As for their song “Peaches,” she said, that was inspired by … a crush.\u003c/p>\n\u003cp>“I wrote it because I was annoyed at somebody who I thought was mean to me, who I had a crush on,” said Levinson.\u003c/p>\n\u003cp>The original instrumentation, Levinson explained, was surfy and grungy until, in rehearsal, they experimented with “shoegaze tones” looping in parts that gave it a more ethereal sound that also shows sassiness.\u003c/p>\n\u003cp>“It’s kind of got like a bite to it — it’s masochistic,” said Levinson, who added that Fauxes aims to be big and flamboyant. “It really shows the evolution of our sound as a band. … A big goal of ours is creating sounds that are big and kind of overtake whatever you’re doing. Really incredible art … like, commands attention.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Levinson was a student at Ruth Asawa San Francisco School of the Arts (SOTA), where she said she didn’t enjoy the “rigidity of classical music.” But it was the Berkeley DIY scene, she said, that changed everything.\u003c/p>\n\u003cp>“There were some really cool bands doing some crazy experimental stuff … and I thought that that was so liberating, so cool. That gave me the courage to kind of be involved in the music scene in general,” she explained. “Go to a DIY show. You will see some of the best music you’ve ever seen and meet some really cool people. It’s a very inspirational community of musicians.”\u003c/p>\n\u003cp>Fauxes’ Nick Bielak said a big part of his musical journey was inspired by the city he grew up in — a city that he says is now very hard to live in and that artists are being priced out of.\u003c/p>\n\u003cp>“Whenever you hear about all these great San Francisco bands, when you hear about Jefferson Airplane, you hear about The Grateful Dead, you hear about Brian Jonestown Massacre, Ty Segall … it’s really cool to know that a lot of these artists that I idolize or listen to … were here, and I knew that I wanted to contribute to that scene as well,” said Bielak.\u003c/p>\n\u003cp>“Peaches” also features Jakob Karstens on the keys. Fauxes will be performing at The Rickshaw Stop in San Francisco on Wednesday, Dec. 20 at 8 p.m. Follow Fauxes on instagram @fauxesband and listen to their music on \u003ca href=\"https://fauxes.bandcamp.com/\">Bandcamp\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"In this episode of the Sunday Music Drop, Scarlett Levinson of the band Fauxes says they aim to create big sounds that 'overtake whatever you're doing.' Their song, 'Peaches,' is no exception.","status":"publish","parent":0,"modified":1701716186,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":522},"headData":{"title":"Fauxes: 'Peaches' | KQED","description":"In this episode of the Sunday Music Drop, Scarlett Levinson of the band Fauxes says they aim to create big sounds that 'overtake whatever you're doing.' Their song, 'Peaches,' is no exception.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Fauxes: 'Peaches'","datePublished":"2023-12-04T01:30:00.000Z","dateModified":"2023-12-04T18:56:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"sunday music drop","sourceUrl":"https://www.kqed.org/sundaymusicdrop","audioUrl":"https://ww2.kqed.org/app/uploads/sites/10/2023/12/SMD_Faux_231203.mp3","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11968911/fauxes-peaches","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Scarlett Levinson and Fauxes bandmates Nick Bielak, Daniel Loor, and Dan March have been playing music together since 2019. The friends met at UC Berkeley in the co-op housing, and sang in choir together.\u003c/p>\n\u003cp>After that, Levinson said, they “went on this kind of garage rock, shoegazy, psychedelic path,” inspired by the San Francisco and Bay Area underground music scene.\u003c/p>\n\u003cp>As for their song “Peaches,” she said, that was inspired by … a crush.\u003c/p>\n\u003cp>“I wrote it because I was annoyed at somebody who I thought was mean to me, who I had a crush on,” said Levinson.\u003c/p>\n\u003cp>The original instrumentation, Levinson explained, was surfy and grungy until, in rehearsal, they experimented with “shoegaze tones” looping in parts that gave it a more ethereal sound that also shows sassiness.\u003c/p>\n\u003cp>“It’s kind of got like a bite to it — it’s masochistic,” said Levinson, who added that Fauxes aims to be big and flamboyant. “It really shows the evolution of our sound as a band. … A big goal of ours is creating sounds that are big and kind of overtake whatever you’re doing. Really incredible art … like, commands attention.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Levinson was a student at Ruth Asawa San Francisco School of the Arts (SOTA), where she said she didn’t enjoy the “rigidity of classical music.” But it was the Berkeley DIY scene, she said, that changed everything.\u003c/p>\n\u003cp>“There were some really cool bands doing some crazy experimental stuff … and I thought that that was so liberating, so cool. That gave me the courage to kind of be involved in the music scene in general,” she explained. “Go to a DIY show. You will see some of the best music you’ve ever seen and meet some really cool people. It’s a very inspirational community of musicians.”\u003c/p>\n\u003cp>Fauxes’ Nick Bielak said a big part of his musical journey was inspired by the city he grew up in — a city that he says is now very hard to live in and that artists are being priced out of.\u003c/p>\n\u003cp>“Whenever you hear about all these great San Francisco bands, when you hear about Jefferson Airplane, you hear about The Grateful Dead, you hear about Brian Jonestown Massacre, Ty Segall … it’s really cool to know that a lot of these artists that I idolize or listen to … were here, and I knew that I wanted to contribute to that scene as well,” said Bielak.\u003c/p>\n\u003cp>“Peaches” also features Jakob Karstens on the keys. Fauxes will be performing at The Rickshaw Stop in San Francisco on Wednesday, Dec. 20 at 8 p.m. Follow Fauxes on instagram @fauxesband and listen to their music on \u003ca href=\"https://fauxes.bandcamp.com/\">Bandcamp\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11968911/fauxes-peaches","authors":["11503","11812"],"categories":["news_223","news_8"],"tags":["news_20257","news_32662","news_22973","news_33589","news_1425","news_29353","news_33590","news_31662"],"featImg":"news_11968925","label":"source_news_11968911"},"news_11944229":{"type":"posts","id":"news_11944229","meta":{"index":"posts_1591205157","site":"news","id":"11944229","score":null,"sort":[1679583669000]},"guestAuthors":[],"slug":"jump-higher-spin-faster-olympic-figure-skater-tai-babilonia-on-her-rise-to-fame","title":"'Jump Higher, Spin Faster': Olympic Figure Skater Tai Babilonia on Her Rise to Fame","publishDate":1679583669,"format":"standard","headTitle":"The California Report Magazine | KQED News","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/mixed-race\">\u003cem>This post is part of a series of stories on The California Report Magazine about the experience of being mixed race.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>[aside label=\"More from The California Report’s ‘Mixed’ series\" tag=\"mixed\"]\u003c/p>\n\u003cp>Olympic figure skater Tai Babilonia rose to fame as a child in the 1960s, breaking into the white world of figure skating with the help of famed coach Mabel Fairbanks, who herself was of Black and Seminole descent. Babilonia and her skating partner, Randy Gardner, rapidly ascended figure skating’s ranks to become World Champions in 1979. They were favorites at the 1980 Olympics, but an injury ended their dream of a medal. In the decades since, Babilonia has opened up about a lot of difficult experiences in her life, including the racism and exotification she faced as an athlete and public figure.\u003c/p>\n\u003cp>For the series \"Mixed: Stories of Mixed-Race Californians,\" hosts Sasha Khokha and Marisa Lagos spoke to Babilonia about growing up in a mixed-race family in the 1960s, and how she’s dedicated her career to creating pathways for younger figure skaters, especially skaters of color. Here are some excerpts from that conversation, edited for brevity and clarity. Listen to the full conversation by clicking the play button at the top of this page.\u003c/p>\n\u003ch2>On growing up mixed race in Los Angeles in the 1960s and '70s\u003c/h2>\n\u003cfigure id=\"attachment_11944238\" class=\"wp-caption aligncenter\" style=\"max-width: 1058px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11944238\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/20220310_235337.jpg\" alt=\"A family photo taken near the water with a smiling daughter who wears white sunglasses, a mother sits on a rock in the center with black sunglasses and her young son to the right who squints at the camera in the sunlight.\" width=\"1058\" height=\"928\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/20220310_235337.jpg 1058w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/20220310_235337-800x702.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/20220310_235337-1020x895.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/20220310_235337-160x140.jpg 160w\" sizes=\"(max-width: 1058px) 100vw, 1058px\">\u003cfigcaption class=\"wp-caption-text\">A young Tai Babilonia (left) with her mother, Cleo Babilonia (center), and older brother, Constancio Babilonia. \u003ccite>(Courtesy Tai Babilonia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My father is Filipino and Hopi Indian, and my mom is Black. We lived in a great neighborhood. It was a rainbow color of different nationalities: Hispanic and Black kids and white kids and mixed kids. It was on a street called Sierra Bonita in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_11944239\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11944239 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/IMG_20210612_072954_061.jpg\" alt=\"A husband and wife pose for their wedding photo. The bride smiles to the left of her groom wearing a lacy, white gown. The groom smiles next to his bride in a white tux with black bowtie and a single white carnation on his lapel. She is Black, and he is Filipino and Hopi Indian.\" width=\"1440\" height=\"1800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/IMG_20210612_072954_061.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/IMG_20210612_072954_061-800x1000.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/IMG_20210612_072954_061-1020x1275.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/IMG_20210612_072954_061-160x200.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/IMG_20210612_072954_061-1229x1536.jpg 1229w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Tai Babilonia’s parents, Cleo Babilonia and Detective Sgt. Babilonia. \u003ccite>(Courtesy of Tai Babilonia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Tai Babilonia, Olympic figure skater\"]'They had never seen a multiracial family. It makes you tough. You learn, whether you know it or not, you're starting to build that armor.'[/pullquote]\u003c/p>\n\u003cp>[When we moved to the San Fernando Valley], we did get the looks. I got the funny looks when I was with my mother. It was the outside world that couldn't figure it out. They didn’t know what to think of us. They had never seen a multiracial family. It makes you tough. You learn, whether you know it or not, you’re starting to build that armor. And, I think, that [was] protection for the future, when it did get a little uncomfortable.\u003c/p>\n\u003ch2>On training with Mabel Fairbanks\u003c/h2>\n\u003cfigure id=\"attachment_11944240\" class=\"wp-caption aligncenter\" style=\"max-width: 1408px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11944240\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/image002.jpg\" alt=\"Two child figure skaters, one girl with a blond ponytail, and one boy with dark, short hair, glide on the ice together in a black and white image.\" width=\"1408\" height=\"1392\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/image002.jpg 1408w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/image002-800x791.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/image002-1020x1008.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/image002-160x158.jpg 160w\" sizes=\"(max-width: 1408px) 100vw, 1408px\">\u003cfigcaption class=\"wp-caption-text\">Babilonia and skating partner Randy Gardner as young skaters gliding on the ice. \u003ccite>(Courtesy of Tai Babilonia and Detective Sgt. Babilonia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There's a rink in Culver City. That's where I started. I took [lessons] from Mabel Fairbanks. [She was a] pioneer, [the] first Black coach. She wasn't allowed to compete or join a show. So, there's no record of competitions or anything. But she fought and hustled just to make a living. She had to go abroad to make a name for herself and to pay the rent.\u003c/p>\n\u003cp>We were her kids, actually, because she didn't have kids. [She] had a stable of students, all different nationalities, rich, poor, celebrities’ kids. We didn't feel different. The one thing she did say, because we were all different shades of brown and beige and Black, [was] we must “jump higher, spin faster and sparkle brighter.” Huge lesson.\u003c/p>\n\u003ch2>On competing at the highest levels\u003c/h2>\n\u003cfigure id=\"attachment_11944232\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11944232\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-scaled.jpg\" alt=\"A male and female figure skater wearing matching red, sparkly outfits glide across the ice.\" width=\"2560\" height=\"1676\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-800x524.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-1020x668.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-160x105.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-1536x1006.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-2048x1341.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-1920x1257.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Babilonia and Gardner glide through their routine in Atlanta on Jan. 20, 1980. \u003ccite>(Bettmann/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of a sudden we're on ABC \u003cem>Wide World of Sports\u003c/em> and, you know, just the it pair team. These two kids, young teens from Los Angeles. We came out of nowhere. Our first nationals, I think I was 12, 1973, and it was white. [There were] maybe one or two other Black skaters. And, there's my mom in a sea of white parents.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-kP4LXNFeTU\u003c/p>\n\u003cp>I was there to work and compete. Call [us] whatever you're going to call us; put us in whatever category you want to put us in; I still have to go out and compete. And, you know, when you're winning, it shuts people up. We were spinning faster and jumping higher and at the top of the podium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Did I think about being a role model? Absolutely not. Absolutely not. Now, looking back, I understand that I was. You start getting letters from kids in schools. Letters [from] kids of color saying, “It was so nice to see someone who looks like me.”\u003c/p>\n\u003ch2>On media coverage of her mixed-race identity\u003c/h2>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Tai Babilonia, Olympic figure skater\"]'They put me in the box that they felt comfortable in identifying me with.'[/pullquote]When I got into figure skating, questions would come up — [TV] networks not knowing what to call me. They didn't know where to put me. And the word “exotic” always came up. Why couldn't they just call me what I was? What stopped them from saying what my mother was and what my father was?\u003c/p>\n\u003cp>They put me in the box that they felt comfortable in identifying me with.\u003c/p>\n\u003ch2>On talking with her son about his mixed-race heritage\u003c/h2>\n\u003cp>Scout is white — his dad’s white and Jewish — and then there’s my side of the family. I just tell him, “Scout, embrace everything that you are. Learn to embrace it. Honor your parents.” I tried to plant that seed early on with him. Embrace it all.\u003c/p>\n\u003ch2>On her work to diversify figure skating\u003c/h2>\n\u003cfigure id=\"attachment_11944236\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11944236\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-scaled.jpg\" alt=\"A female figure skater wearing a sparkly, red outfit spins around a child wearing a navy blue school uniform as they smile together on an ice rink outdoors with buildings and skyscrapers in the background.\" width=\"2560\" height=\"1819\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-1020x725.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-1536x1091.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-2048x1455.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-1920x1364.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Two-time Olympian, five-time US National Champion and World Champion Tai Babilonia spins Measia Aaron, 8, of the Sheenway School and Culture Center, at the Downtown on Ice outdoor skating rink at Pershing Square in Los Angeles on Nov. 15, 2012. \u003ccite>(Allen J. Schaben/Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It feels like skating is playing catch-up with everything. Back in the ’70s, there were a handful of Black skaters. There’s less now. That’s a problem. There’s so much work to do.\u003c/p>\n\u003cp>It’s getting the right people of color in the higher places like with U.S. figure skating. Why aren't more people on staff of color? It's still very white. I'm starting to see little changes. But we have to push.\u003c/p>\n\u003cp>\u003ca id=\"anchor\">\u003c/a>\u003cbr>\n[hearken id=\"7528\" src=\"https://modules.wearehearken.com/kqed/embed/7528.js\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"World Champion figure skater Tai Babilonia speaks on her rise to the Olympics during the 1970s-'80s, growing up mixed race in Southern California and how she’s creating new paths to diversify the sport.","status":"publish","parent":0,"modified":1680040600,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":20,"wordCount":1128},"headData":{"title":"'Jump Higher, Spin Faster': Olympic Figure Skater Tai Babilonia on Her Rise to Fame | KQED","description":"World Champion figure skater Tai Babilonia speaks on her rise to the Olympics during the 1970s-'80s, growing up mixed race in Southern California and how she’s creating new paths to diversify the sport.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'Jump Higher, Spin Faster': Olympic Figure Skater Tai Babilonia on Her Rise to Fame","datePublished":"2023-03-23T15:01:09.000Z","dateModified":"2023-03-28T21:56:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/fbec4883-f7f5-45aa-af23-afcd0134b3b0/audio.mp3","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11944229/jump-higher-spin-faster-olympic-figure-skater-tai-babilonia-on-her-rise-to-fame","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/mixed-race\">\u003cem>This post is part of a series of stories on The California Report Magazine about the experience of being mixed race.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More from The California Reports ‘Mixed series ","tag":"mixed"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Olympic figure skater Tai Babilonia rose to fame as a child in the 1960s, breaking into the white world of figure skating with the help of famed coach Mabel Fairbanks, who herself was of Black and Seminole descent. Babilonia and her skating partner, Randy Gardner, rapidly ascended figure skating’s ranks to become World Champions in 1979. They were favorites at the 1980 Olympics, but an injury ended their dream of a medal. In the decades since, Babilonia has opened up about a lot of difficult experiences in her life, including the racism and exotification she faced as an athlete and public figure.\u003c/p>\n\u003cp>For the series \"Mixed: Stories of Mixed-Race Californians,\" hosts Sasha Khokha and Marisa Lagos spoke to Babilonia about growing up in a mixed-race family in the 1960s, and how she’s dedicated her career to creating pathways for younger figure skaters, especially skaters of color. Here are some excerpts from that conversation, edited for brevity and clarity. Listen to the full conversation by clicking the play button at the top of this page.\u003c/p>\n\u003ch2>On growing up mixed race in Los Angeles in the 1960s and '70s\u003c/h2>\n\u003cfigure id=\"attachment_11944238\" class=\"wp-caption aligncenter\" style=\"max-width: 1058px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11944238\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/20220310_235337.jpg\" alt=\"A family photo taken near the water with a smiling daughter who wears white sunglasses, a mother sits on a rock in the center with black sunglasses and her young son to the right who squints at the camera in the sunlight.\" width=\"1058\" height=\"928\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/20220310_235337.jpg 1058w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/20220310_235337-800x702.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/20220310_235337-1020x895.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/20220310_235337-160x140.jpg 160w\" sizes=\"(max-width: 1058px) 100vw, 1058px\">\u003cfigcaption class=\"wp-caption-text\">A young Tai Babilonia (left) with her mother, Cleo Babilonia (center), and older brother, Constancio Babilonia. \u003ccite>(Courtesy Tai Babilonia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My father is Filipino and Hopi Indian, and my mom is Black. We lived in a great neighborhood. It was a rainbow color of different nationalities: Hispanic and Black kids and white kids and mixed kids. It was on a street called Sierra Bonita in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_11944239\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11944239 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/IMG_20210612_072954_061.jpg\" alt=\"A husband and wife pose for their wedding photo. The bride smiles to the left of her groom wearing a lacy, white gown. The groom smiles next to his bride in a white tux with black bowtie and a single white carnation on his lapel. She is Black, and he is Filipino and Hopi Indian.\" width=\"1440\" height=\"1800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/IMG_20210612_072954_061.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/IMG_20210612_072954_061-800x1000.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/IMG_20210612_072954_061-1020x1275.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/IMG_20210612_072954_061-160x200.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/IMG_20210612_072954_061-1229x1536.jpg 1229w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Tai Babilonia’s parents, Cleo Babilonia and Detective Sgt. Babilonia. \u003ccite>(Courtesy of Tai Babilonia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'They had never seen a multiracial family. It makes you tough. You learn, whether you know it or not, you're starting to build that armor.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Tai Babilonia, Olympic figure skater","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>[When we moved to the San Fernando Valley], we did get the looks. I got the funny looks when I was with my mother. It was the outside world that couldn't figure it out. They didn’t know what to think of us. They had never seen a multiracial family. It makes you tough. You learn, whether you know it or not, you’re starting to build that armor. And, I think, that [was] protection for the future, when it did get a little uncomfortable.\u003c/p>\n\u003ch2>On training with Mabel Fairbanks\u003c/h2>\n\u003cfigure id=\"attachment_11944240\" class=\"wp-caption aligncenter\" style=\"max-width: 1408px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11944240\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/image002.jpg\" alt=\"Two child figure skaters, one girl with a blond ponytail, and one boy with dark, short hair, glide on the ice together in a black and white image.\" width=\"1408\" height=\"1392\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/image002.jpg 1408w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/image002-800x791.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/image002-1020x1008.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/image002-160x158.jpg 160w\" sizes=\"(max-width: 1408px) 100vw, 1408px\">\u003cfigcaption class=\"wp-caption-text\">Babilonia and skating partner Randy Gardner as young skaters gliding on the ice. \u003ccite>(Courtesy of Tai Babilonia and Detective Sgt. Babilonia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There's a rink in Culver City. That's where I started. I took [lessons] from Mabel Fairbanks. [She was a] pioneer, [the] first Black coach. She wasn't allowed to compete or join a show. So, there's no record of competitions or anything. But she fought and hustled just to make a living. She had to go abroad to make a name for herself and to pay the rent.\u003c/p>\n\u003cp>We were her kids, actually, because she didn't have kids. [She] had a stable of students, all different nationalities, rich, poor, celebrities’ kids. We didn't feel different. The one thing she did say, because we were all different shades of brown and beige and Black, [was] we must “jump higher, spin faster and sparkle brighter.” Huge lesson.\u003c/p>\n\u003ch2>On competing at the highest levels\u003c/h2>\n\u003cfigure id=\"attachment_11944232\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11944232\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-scaled.jpg\" alt=\"A male and female figure skater wearing matching red, sparkly outfits glide across the ice.\" width=\"2560\" height=\"1676\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-800x524.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-1020x668.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-160x105.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-1536x1006.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-2048x1341.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-515123508-1920x1257.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Babilonia and Gardner glide through their routine in Atlanta on Jan. 20, 1980. \u003ccite>(Bettmann/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of a sudden we're on ABC \u003cem>Wide World of Sports\u003c/em> and, you know, just the it pair team. These two kids, young teens from Los Angeles. We came out of nowhere. Our first nationals, I think I was 12, 1973, and it was white. [There were] maybe one or two other Black skaters. And, there's my mom in a sea of white parents.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-kP4LXNFeTU'\n title='//www.youtube.com/embed/-kP4LXNFeTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I was there to work and compete. Call [us] whatever you're going to call us; put us in whatever category you want to put us in; I still have to go out and compete. And, you know, when you're winning, it shuts people up. We were spinning faster and jumping higher and at the top of the podium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Did I think about being a role model? Absolutely not. Absolutely not. Now, looking back, I understand that I was. You start getting letters from kids in schools. Letters [from] kids of color saying, “It was so nice to see someone who looks like me.”\u003c/p>\n\u003ch2>On media coverage of her mixed-race identity\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'They put me in the box that they felt comfortable in identifying me with.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Tai Babilonia, Olympic figure skater","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When I got into figure skating, questions would come up — [TV] networks not knowing what to call me. They didn't know where to put me. And the word “exotic” always came up. Why couldn't they just call me what I was? What stopped them from saying what my mother was and what my father was?\u003c/p>\n\u003cp>They put me in the box that they felt comfortable in identifying me with.\u003c/p>\n\u003ch2>On talking with her son about his mixed-race heritage\u003c/h2>\n\u003cp>Scout is white — his dad’s white and Jewish — and then there’s my side of the family. I just tell him, “Scout, embrace everything that you are. Learn to embrace it. Honor your parents.” I tried to plant that seed early on with him. Embrace it all.\u003c/p>\n\u003ch2>On her work to diversify figure skating\u003c/h2>\n\u003cfigure id=\"attachment_11944236\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11944236\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-scaled.jpg\" alt=\"A female figure skater wearing a sparkly, red outfit spins around a child wearing a navy blue school uniform as they smile together on an ice rink outdoors with buildings and skyscrapers in the background.\" width=\"2560\" height=\"1819\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-1020x725.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-1536x1091.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-2048x1455.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/GettyImages-564012449-1920x1364.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Two-time Olympian, five-time US National Champion and World Champion Tai Babilonia spins Measia Aaron, 8, of the Sheenway School and Culture Center, at the Downtown on Ice outdoor skating rink at Pershing Square in Los Angeles on Nov. 15, 2012. \u003ccite>(Allen J. Schaben/Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It feels like skating is playing catch-up with everything. Back in the ’70s, there were a handful of Black skaters. There’s less now. That’s a problem. There’s so much work to do.\u003c/p>\n\u003cp>It’s getting the right people of color in the higher places like with U.S. figure skating. Why aren't more people on staff of color? It's still very white. I'm starting to see little changes. But we have to push.\u003c/p>\n\u003cp>\u003ca id=\"anchor\">\u003c/a>\u003cbr>\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"hearken","attributes":{"named":{"id":"7528","src":"https://modules.wearehearken.com/kqed/embed/7528.js","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11944229/jump-higher-spin-faster-olympic-figure-skater-tai-babilonia-on-her-rise-to-fame","authors":["234","254","3239"],"programs":["news_72","news_26731"],"categories":["news_29992","news_223","news_8"],"tags":["news_20257","news_22973","news_27626","news_22381","news_32533","news_28093","news_2808","news_5637","news_32561"],"featImg":"news_11944231","label":"news_26731"},"news_11938092":{"type":"posts","id":"news_11938092","meta":{"index":"posts_1591205157","site":"news","id":"11938092","score":null,"sort":[1673866825000]},"guestAuthors":[],"slug":"blues-town-remembering-russell-city","title":"Blues Town: Remembering Russell City","publishDate":1673866825,"format":"audio","headTitle":"Blues Town: Remembering Russell City | KQED","labelTerm":{},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Etta James, Ray Charles and John Lee Hooker all played in Russell City, a once thriving blues town located in Hayward. The town was home to Black and Latino residents who couldn’t find a residence elsewhere due to redlining and other racist housing policies. The city of Hayward used eminent domain to take the land and by 1966, the town had been annexed and replaced by an industrial park that is still there. In 2021 the Hayward city council voted unanimously to issue a formal apology to the residents who were pushed out. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This episode first aired on Bay Curious \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/news/11922175/remembering-russell-city-a-thriving-east-bay-town-razed-by-racist-government\">\u003ci>\u003cspan style=\"font-weight: 400\">Aug. 11, 2022.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3138145232&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Etta James, Ray Charles and John Lee Hooker all played in Russell City, a once thriving blues town located in Hayward.\r\n","status":"publish","parent":0,"modified":1700682934,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":108},"headData":{"title":"Blues Town: Remembering Russell City | KQED","description":"Etta James, Ray Charles and John Lee Hooker all played in Russell City, a once thriving blues town located in Hayward.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Blues Town: Remembering Russell City","datePublished":"2023-01-16T11:00:25.000Z","dateModified":"2023-11-22T19:55:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"The Bay","sourceUrl":"https://www.kqed.org/podcasts/thebay","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/A511B8/traffic.megaphone.fm/KQINC3138145232.mp3?updated=1673658954","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11938092/blues-town-remembering-russell-city","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Etta James, Ray Charles and John Lee Hooker all played in Russell City, a once thriving blues town located in Hayward. The town was home to Black and Latino residents who couldn’t find a residence elsewhere due to redlining and other racist housing policies. The city of Hayward used eminent domain to take the land and by 1966, the town had been annexed and replaced by an industrial park that is still there. In 2021 the Hayward city council voted unanimously to issue a formal apology to the residents who were pushed out. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This episode first aired on Bay Curious \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/news/11922175/remembering-russell-city-a-thriving-east-bay-town-razed-by-racist-government\">\u003ci>\u003cspan style=\"font-weight: 400\">Aug. 11, 2022.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3138145232&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11938092/blues-town-remembering-russell-city","authors":["8654","11802","11672"],"programs":["news_28779"],"categories":["news_8","news_33520"],"tags":["news_32282","news_20257","news_2501","news_22598"],"featImg":"news_11922190","label":"source_news_11938092"},"news_11937895":{"type":"posts","id":"news_11937895","meta":{"index":"posts_1591205157","site":"news","id":"11937895","score":null,"sort":[1673607633000]},"guestAuthors":[],"slug":"a-rare-archive-of-angela-davis-life-on-display-at-omca","title":"A ‘Rare’ Archive of Angela Davis’ Life On Display At OMCA","publishDate":1673607633,"format":"audio","headTitle":"A ‘Rare’ Archive of Angela Davis’ Life On Display At OMCA | KQED","labelTerm":{},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">A rare showcase of archives and memorabilia from the life of Angela Davis is on display at the Oakland Museum of California. The exhibit includes photos, speeches and posters collected over the span of several years. The archive highlights Davis’ legacy and a fight for abolition and Black lives — one that is still relevant today.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/ArianaProehl\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Proehl\u003c/a>, Culture Reporter for KQED\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://museumca.org/on-view/angela-davis-seize-the-time/\">Click here\u003c/a> for more information on Angela Davis: Seize the Time\u003c/em>\u003c/p>\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4624219096&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A rare showcase of archives and memorabilia from the life of Angela Davis is on display at the Oakland Museum of California.","status":"publish","parent":0,"modified":1700682940,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":77},"headData":{"title":"A ‘Rare’ Archive of Angela Davis’ Life On Display At OMCA | KQED","description":"A rare showcase of archives and memorabilia from the life of Angela Davis is on display at the Oakland Museum of California.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"A ‘Rare’ Archive of Angela Davis’ Life On Display At OMCA","datePublished":"2023-01-13T11:00:33.000Z","dateModified":"2023-11-22T19:55:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"The Bay","sourceUrl":"https://www.kqed.org/podcasts/thebay","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/A511B8/traffic.megaphone.fm/KQINC4624219096.mp3?updated=1673561895","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11937895/a-rare-archive-of-angela-davis-life-on-display-at-omca","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A rare showcase of archives and memorabilia from the life of Angela Davis is on display at the Oakland Museum of California. The exhibit includes photos, speeches and posters collected over the span of several years. The archive highlights Davis’ legacy and a fight for abolition and Black lives — one that is still relevant today.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/ArianaProehl\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Proehl\u003c/a>, Culture Reporter for KQED\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://museumca.org/on-view/angela-davis-seize-the-time/\">Click here\u003c/a> for more information on Angela Davis: Seize the Time\u003c/em>\u003c/p>\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4624219096&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11937895/a-rare-archive-of-angela-davis-life-on-display-at-omca","authors":["8654","11296","11802","11672"],"programs":["news_28779"],"categories":["news_8","news_33520"],"tags":["news_32282","news_20257","news_2501","news_22598"],"featImg":"news_11937915","label":"source_news_11937895"},"news_11935695":{"type":"posts","id":"news_11935695","meta":{"index":"posts_1591205157","site":"news","id":"11935695","score":null,"sort":[1671307008000]},"guestAuthors":[],"slug":"oakland-tattoo-artist-starts-a-movement-to-ink-pansies-in-support-of-trans-rights","title":"Oakland Tattoo Artist Starts a Movement to Ink Pansies in Support of Trans Rights","publishDate":1671307008,"format":"standard","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>The pansy is a delicate flower — but it’s more than just a flower, it’s also a symbol of trans solidarity. Oakland-based tattoo artist Cedre Csillagi started the \u003ca href=\"https://www.instagram.com/a1000pansies/\">A Thousand Pansies project\u003c/a> as a way to dedicate their art to something bigger, and also raise money for a Black-led trans organization in Alabama called \u003ca href=\"https://www.tkosociety.org/\">The Knights and Orchid Society\u003c/a> (TKO). Thus far, over 18 people have received matching pansy tattoos, and, as of today, the project has raised nearly $15,000 dollars.\u003c/p>\n\u003cp>“I think that it’s a beautiful project and an example of how to show up for grassroot organizations,” said TC Caldwell, director of community engagement for the Alabama-based organization. They added that Black trans-led organizations in the South don’t see the same funding opportunities as others. The needs of their clients range from assistance with name/gender marker changes on IDs to food and stable housing.\u003c/p>\n\u003cp>“We can’t do this work without community. This is critical life-saving work,” Caldwell said. Solidarity is key to their work, which can \"look like fighting anti-trans legislation, making sure trans youth have safe places/spaces to exist whole, making sure that there are jobs for trans folks, and allowing trans people to lead the work,” they said.\u003c/p>\n\u003cp>Piper Kerman echoed the importance of ensuring Black trans people are financially supported, in an interview with KQED while she got her pansy tattoo.[pullquote align=\"right\" size=\"medium\" citation=\"Cedre Csillagi\"]'I feel more and more connected to the image every time I do it. Which is really beautiful to just do it over and over. It's like I'm reiterating on my own ideals and my own politics around this.'[/pullquote]“Black trans people need love and support and resources, and that's what the project is going to bring,” she said. Kerman is a Bay Area resident and author of \u003cem>Orange Is the New Black\u003c/em>, the book on which the hit Netflix series is based, chronicling her experience with incarceration.\u003c/p>\n\u003cp>Kerman said that when she was incarcerated, she had a Black trans neighbor who was an important figure in her life. In the Netflix series, that figure is played by Laverne Cox.\u003c/p>\n\u003cp>Kerman said she also has an aunt named Pansy, and that one of her great-grandmothers was named Pansy.\u003c/p>\n\u003cp>Csillagi, co-owner of \u003ca href=\"https://www.divingswallow.com/\">Diving Swallow Tattoo\u003c/a> in downtown Oakland, explained that the word \"pansy\" used to be a derogatory term and that the choice of this flower is also a nod to the work of another artist, Paul Harfleet, who began planting pansies at the sites of homophobic incidents he experienced in Manchester, England. “The species of plant was of course vitally important and the pansy instantly seemed perfect,” Harfleet wrote, explaining the project on his website. “The name of the flower originates from the French verb; penser (to think), as the bowing head of the flower was seen to visually echo a person in deep thought.”\u003c/p>\n\u003cp>For Csillagi, care and thought in action is what the A Thousand Pansies project is all about. It's a way to connect their own politics to something bigger. The custom-designed tattoo is part of a vision to spread a physical symbol of “love, alliance and protection.”\u003c/p>\n\u003cp>Csillagi grew up in the South and has seen the impact of homophobia firsthand. For them, it's solidified the importance of creating a shared symbol in the Bay Area and beyond.\u003c/p>\n\u003cp>“I just started to feel like I needed to do something, anything to help,” Csillagi said.\u003c/p>\n\u003cp>“Being a tattoo artist is [an] incredibly beautiful profession, but it is often very individualized. It's like one person's journey through grief or transition ... I wanted to open up my job and my skills to be more community-minded.”\u003c/p>\n\u003cp>Csillagi, a highly sought tattoo artist, is booked until 2024, but they will be creating a weekly time slot for those looking to get inked with a pansy tattoo. And they are also sharing the design so other tattoo artists can participate.\u003c/p>\n\u003cp>“I feel more and more connected to the image every time I do it,\" Csillagi said. \"Which is really beautiful to just do it over and over. It's like I'm reiterating on my own ideals and my own politics around this.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The custom-designed tattoo is part of a vision to spread a physical symbol of 'love, alliance, and protection,' Cedre Csillagi said. ","status":"publish","parent":0,"modified":1671471732,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":747},"headData":{"title":"Oakland Tattoo Artist Starts a Movement to Ink Pansies in Support of Trans Rights | KQED","description":"The custom-designed tattoo is part of a vision to spread a physical symbol of 'love, alliance, and protection,' Cedre Csillagi said. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Oakland Tattoo Artist Starts a Movement to Ink Pansies in Support of Trans Rights","datePublished":"2022-12-17T19:56:48.000Z","dateModified":"2022-12-19T17:42:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11935695/oakland-tattoo-artist-starts-a-movement-to-ink-pansies-in-support-of-trans-rights","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The pansy is a delicate flower — but it’s more than just a flower, it’s also a symbol of trans solidarity. Oakland-based tattoo artist Cedre Csillagi started the \u003ca href=\"https://www.instagram.com/a1000pansies/\">A Thousand Pansies project\u003c/a> as a way to dedicate their art to something bigger, and also raise money for a Black-led trans organization in Alabama called \u003ca href=\"https://www.tkosociety.org/\">The Knights and Orchid Society\u003c/a> (TKO). Thus far, over 18 people have received matching pansy tattoos, and, as of today, the project has raised nearly $15,000 dollars.\u003c/p>\n\u003cp>“I think that it’s a beautiful project and an example of how to show up for grassroot organizations,” said TC Caldwell, director of community engagement for the Alabama-based organization. They added that Black trans-led organizations in the South don’t see the same funding opportunities as others. The needs of their clients range from assistance with name/gender marker changes on IDs to food and stable housing.\u003c/p>\n\u003cp>“We can’t do this work without community. This is critical life-saving work,” Caldwell said. Solidarity is key to their work, which can \"look like fighting anti-trans legislation, making sure trans youth have safe places/spaces to exist whole, making sure that there are jobs for trans folks, and allowing trans people to lead the work,” they said.\u003c/p>\n\u003cp>Piper Kerman echoed the importance of ensuring Black trans people are financially supported, in an interview with KQED while she got her pansy tattoo.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'I feel more and more connected to the image every time I do it. Which is really beautiful to just do it over and over. It's like I'm reiterating on my own ideals and my own politics around this.'","name":"pullquote","attributes":{"named":{"align":"right","size":"medium","citation":"Cedre Csillagi","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Black trans people need love and support and resources, and that's what the project is going to bring,” she said. Kerman is a Bay Area resident and author of \u003cem>Orange Is the New Black\u003c/em>, the book on which the hit Netflix series is based, chronicling her experience with incarceration.\u003c/p>\n\u003cp>Kerman said that when she was incarcerated, she had a Black trans neighbor who was an important figure in her life. In the Netflix series, that figure is played by Laverne Cox.\u003c/p>\n\u003cp>Kerman said she also has an aunt named Pansy, and that one of her great-grandmothers was named Pansy.\u003c/p>\n\u003cp>Csillagi, co-owner of \u003ca href=\"https://www.divingswallow.com/\">Diving Swallow Tattoo\u003c/a> in downtown Oakland, explained that the word \"pansy\" used to be a derogatory term and that the choice of this flower is also a nod to the work of another artist, Paul Harfleet, who began planting pansies at the sites of homophobic incidents he experienced in Manchester, England. “The species of plant was of course vitally important and the pansy instantly seemed perfect,” Harfleet wrote, explaining the project on his website. “The name of the flower originates from the French verb; penser (to think), as the bowing head of the flower was seen to visually echo a person in deep thought.”\u003c/p>\n\u003cp>For Csillagi, care and thought in action is what the A Thousand Pansies project is all about. It's a way to connect their own politics to something bigger. The custom-designed tattoo is part of a vision to spread a physical symbol of “love, alliance and protection.”\u003c/p>\n\u003cp>Csillagi grew up in the South and has seen the impact of homophobia firsthand. For them, it's solidified the importance of creating a shared symbol in the Bay Area and beyond.\u003c/p>\n\u003cp>“I just started to feel like I needed to do something, anything to help,” Csillagi said.\u003c/p>\n\u003cp>“Being a tattoo artist is [an] incredibly beautiful profession, but it is often very individualized. It's like one person's journey through grief or transition ... I wanted to open up my job and my skills to be more community-minded.”\u003c/p>\n\u003cp>Csillagi, a highly sought tattoo artist, is booked until 2024, but they will be creating a weekly time slot for those looking to get inked with a pansy tattoo. And they are also sharing the design so other tattoo artists can participate.\u003c/p>\n\u003cp>“I feel more and more connected to the image every time I do it,\" Csillagi said. \"Which is really beautiful to just do it over and over. It's like I'm reiterating on my own ideals and my own politics around this.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11935695/oakland-tattoo-artist-starts-a-movement-to-ink-pansies-in-support-of-trans-rights","authors":["11626"],"categories":["news_223","news_28250","news_8"],"tags":["news_20257","news_19133","news_27626","news_5438","news_22681","news_32181","news_32180","news_31900"],"featImg":"news_11935699","label":"news"},"news_11935621":{"type":"posts","id":"news_11935621","meta":{"index":"posts_1591205157","site":"news","id":"11935621","score":null,"sort":[1671292807000]},"guestAuthors":[],"slug":"we-have-to-be-our-own-shield-sfs-lgbtq-community-honors-victims-of-the-pulse-and-club-q-shootings-in-new-memorial","title":"'We Have to Be Our Own Shield': SF's LGBTQ+ Community Honors Victims of the Pulse and Club Q Shootings in New Memorial","publishDate":1671292807,"format":"standard","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>As you step onto the second floor of San Francisco’s \u003ca href=\"https://www.sfcenter.org/\">LGBT Center\u003c/a>, a large metal sculpture meets your eye. \u003ci>Aegis\u003c/i> is San Francisco artist Wilson Ferreira’s memorial to the 49 people who were killed in a shooting at the Pulse nightclub in Orlando, Florida, in 2016, the most violent attack against the LGBTQ+ community in U.S. history.\u003c/p>\n\u003cp>\u003ci>Aegis\u003c/i> — which draws its name from a divine form of protection in Greek mythology — resembles a V-shaped shield, encasing a metal rainbow flag. The lower half of the shield is covered in dozens of small perforations, so you can see the colors of the rainbow through the holes. As you move around the piece, the shield seems to shift, the colors dancing on a fixed surface.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"forum_2010101891418,news_11933264,arts_13916204\"]Ferreira unveiled the sculpture on Dec. 7 at a reception hosted by the San Francisco LGBT Center and AGUILAS, an advocacy and resource group for LGBTQ+ Latinx people. It was a long time coming: Back in 2017, the San Francisco Board of Supervisors set aside $10,000 for a public memorial to honor the victims of the shooting. Four years later, Ferreira unveiled \u003ci>Aegis\u003c/i> in a moment when violence against queer people is once again on the rise, only weeks after \u003ca href=\"https://www.kqed.org/news/11932900/what-we-know-about-the-shooting-at-a-colorado-springs-lgbtq-club\">the shooting that killed nine people at Club Q\u003c/a>, an LGBTQ+ club in Colorado Springs.\u003c/p>\n\u003cp>\u003cem>Aegis\u003c/em> is intended not just to honor those who lost their lives at Pulse, but also to protect the living who remain vulnerable to anti-LGBTQ+ violence, Ferreira says. “This shield cannot be destroyed because it protects you, me, all of us,” he says. “It gives us the protection to move forward, despite resistance.”\u003c/p>\n\u003cp>Ferreira, originally from Brazil, is the first gay Brazilian artist to create a public memorial in the city. He says that he’s experienced discrimination in both Brazil and the U.S., and he felt the tragedy at Pulse deeply. Many of those who lost their lives at Pulse were queer Latinx people who sought to create a space without queerphobic, racist or xenophobic aggression.\u003c/p>\n\u003cfigure id=\"attachment_11935653\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram.jpg\">\u003cimg class=\"wp-image-11935653\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram-800x590.jpg\" alt=\"a young-looking, bald Latino man with a dark brown mustache and goatee, wearing a brown shirt and coat, smiles in front of a metal and rainbow-hued sculpture hanging on a blue interior wall. The sculpture is roughly a couple feet wide and 6 inches taller than a nearby doorframe.\" width=\"500\" height=\"369\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram-800x590.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram.jpg 962w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wilson Ferreira is the first gay Brazilian artist to create a public memorial in San Francisco. \u003ccite>(sfaguilas/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As gay men, we know how much we are subjected to violence,” he says. “Our community, the LGBTQIA+ community, has suffered prejudice and violence every single day — unchecked homophobia, unchecked violence.”\u003c/p>\n\u003cp>The sculpture’s sleek, vertical design takes the eyes upward to the top of the shield, where the rainbow banner peeks out near the ceiling. Ferreira says he wanted the piece to link the terrestrial and celestial planes. The intention behind each subtle detail — the dozens of perforations that grow smaller and fade away as you move up the piece, for example — make it clear that we are now in a place to mourn and remember.\u003c/p>\n\u003cp>The San Francisco LGBT Center already is home to several significant works of art by LGBTQ+ artists, including \u003ci>Queeroes\u003c/i>, the mural by artists Juan Manuel Carmona and Simón Malvaez on the building’s exterior that features key figures in the movement for queer liberation, like Sylvia Rivera and Marsha P. Johnson.\u003c/p>\n\u003cp>Only a few days before the \u003ci>Aegis\u003c/i> unveiling, Rita Wantings started their new job at the San Francisco LGBT Center as a services navigator. Originally from Colorado, Wantings came to San Francisco to find a place where they would be understood and not judged for their identity or experiences as a queer person of color.\u003c/p>\n\u003cfigure id=\"attachment_11935646\" class=\"wp-caption alignright\" style=\"max-width: 344px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453.png\">\u003cimg class=\" wp-image-11935646\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-800x1200.png\" alt=\"A gold and rainbow-colored metal sculpture hanging on a blue wall.\" width=\"344\" height=\"516\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-800x1200.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-1020x1530.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-160x240.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-1024x1536.png 1024w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-1365x2048.png 1365w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-1920x2880.png 1920w\" sizes=\"(max-width: 344px) 100vw, 344px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">'Aegis,' by Wilson Ferreira, draws its name from a divine form of protection in Greek mythology. \u003ccite>(Courtesy of the SF LGBT Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back in Colorado, Wantings says, they were judged and ridiculed for their pronouns. “Out here I don’t feel like that. I feel very protected out here,” they say. “I feel seen. I feel heard. I feel valid.”\u003c/p>\n\u003cp>And even though they have only been in the Bay for a short period of time, Wantings says they have already formed deep connections. “I don’t even want to call them friends. I call them my chosen family — people who see me, who identify in similar ways as what I identify,” they say.\u003c/p>\n\u003cp>That chosen family has become their shield, Wantings says, so \u003ci>Aegis\u003c/i> reminds them of the care and protection they receive from the community. They point to their bag, which reads \"Protect Black women.\"\u003c/p>\n\u003cp>Colorado will always be their home, Wantings says. But they add that the Club Q shooting in Colorado Springs hit close to home — literally. They are still working through their grief.\u003c/p>\n\u003cp>“That’s actually somewhere I’ve been,” they say. “I’ve experienced that place. It was a beautiful place, I've seen drag shows there.” Throughout these difficult emotions, they’ve leaned on their new chosen family in the Bay Area.\u003c/p>\n\u003cp>“We have to be our own shield,” they say.\u003c/p>\n\u003cp>\u003cem>Correction (Dec. 19): The original version of this story incorrectly stated the year of the Pulse nightclub shooting as 2017. The event occurred June 12, 2016. The year has since been corrected.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"With anti-LGBTQ+ violence on the rise, Wilson Ferreira's 'Aegis' is intended as both a tribute and a source of inspiration and strength.","status":"publish","parent":0,"modified":1671478745,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":883},"headData":{"title":"'We Have to Be Our Own Shield': SF's LGBTQ+ Community Honors Victims of the Pulse and Club Q Shootings in New Memorial | KQED","description":"With anti-LGBTQ+ violence on the rise, Wilson Ferreira's 'Aegis' is intended as both a tribute and a source of inspiration and strength.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'We Have to Be Our Own Shield': SF's LGBTQ+ Community Honors Victims of the Pulse and Club Q Shootings in New Memorial","datePublished":"2022-12-17T16:00:07.000Z","dateModified":"2022-12-19T19:39:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11935621/we-have-to-be-our-own-shield-sfs-lgbtq-community-honors-victims-of-the-pulse-and-club-q-shootings-in-new-memorial","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As you step onto the second floor of San Francisco’s \u003ca href=\"https://www.sfcenter.org/\">LGBT Center\u003c/a>, a large metal sculpture meets your eye. \u003ci>Aegis\u003c/i> is San Francisco artist Wilson Ferreira’s memorial to the 49 people who were killed in a shooting at the Pulse nightclub in Orlando, Florida, in 2016, the most violent attack against the LGBTQ+ community in U.S. history.\u003c/p>\n\u003cp>\u003ci>Aegis\u003c/i> — which draws its name from a divine form of protection in Greek mythology — resembles a V-shaped shield, encasing a metal rainbow flag. The lower half of the shield is covered in dozens of small perforations, so you can see the colors of the rainbow through the holes. As you move around the piece, the shield seems to shift, the colors dancing on a fixed surface.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"forum_2010101891418,news_11933264,arts_13916204"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ferreira unveiled the sculpture on Dec. 7 at a reception hosted by the San Francisco LGBT Center and AGUILAS, an advocacy and resource group for LGBTQ+ Latinx people. It was a long time coming: Back in 2017, the San Francisco Board of Supervisors set aside $10,000 for a public memorial to honor the victims of the shooting. Four years later, Ferreira unveiled \u003ci>Aegis\u003c/i> in a moment when violence against queer people is once again on the rise, only weeks after \u003ca href=\"https://www.kqed.org/news/11932900/what-we-know-about-the-shooting-at-a-colorado-springs-lgbtq-club\">the shooting that killed nine people at Club Q\u003c/a>, an LGBTQ+ club in Colorado Springs.\u003c/p>\n\u003cp>\u003cem>Aegis\u003c/em> is intended not just to honor those who lost their lives at Pulse, but also to protect the living who remain vulnerable to anti-LGBTQ+ violence, Ferreira says. “This shield cannot be destroyed because it protects you, me, all of us,” he says. “It gives us the protection to move forward, despite resistance.”\u003c/p>\n\u003cp>Ferreira, originally from Brazil, is the first gay Brazilian artist to create a public memorial in the city. He says that he’s experienced discrimination in both Brazil and the U.S., and he felt the tragedy at Pulse deeply. Many of those who lost their lives at Pulse were queer Latinx people who sought to create a space without queerphobic, racist or xenophobic aggression.\u003c/p>\n\u003cfigure id=\"attachment_11935653\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram.jpg\">\u003cimg class=\"wp-image-11935653\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram-800x590.jpg\" alt=\"a young-looking, bald Latino man with a dark brown mustache and goatee, wearing a brown shirt and coat, smiles in front of a metal and rainbow-hued sculpture hanging on a blue interior wall. The sculpture is roughly a couple feet wide and 6 inches taller than a nearby doorframe.\" width=\"500\" height=\"369\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram-800x590.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/Screenshot_20221216-160834_Instagram.jpg 962w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wilson Ferreira is the first gay Brazilian artist to create a public memorial in San Francisco. \u003ccite>(sfaguilas/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As gay men, we know how much we are subjected to violence,” he says. “Our community, the LGBTQIA+ community, has suffered prejudice and violence every single day — unchecked homophobia, unchecked violence.”\u003c/p>\n\u003cp>The sculpture’s sleek, vertical design takes the eyes upward to the top of the shield, where the rainbow banner peeks out near the ceiling. Ferreira says he wanted the piece to link the terrestrial and celestial planes. The intention behind each subtle detail — the dozens of perforations that grow smaller and fade away as you move up the piece, for example — make it clear that we are now in a place to mourn and remember.\u003c/p>\n\u003cp>The San Francisco LGBT Center already is home to several significant works of art by LGBTQ+ artists, including \u003ci>Queeroes\u003c/i>, the mural by artists Juan Manuel Carmona and Simón Malvaez on the building’s exterior that features key figures in the movement for queer liberation, like Sylvia Rivera and Marsha P. Johnson.\u003c/p>\n\u003cp>Only a few days before the \u003ci>Aegis\u003c/i> unveiling, Rita Wantings started their new job at the San Francisco LGBT Center as a services navigator. Originally from Colorado, Wantings came to San Francisco to find a place where they would be understood and not judged for their identity or experiences as a queer person of color.\u003c/p>\n\u003cfigure id=\"attachment_11935646\" class=\"wp-caption alignright\" style=\"max-width: 344px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453.png\">\u003cimg class=\" wp-image-11935646\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-800x1200.png\" alt=\"A gold and rainbow-colored metal sculpture hanging on a blue wall.\" width=\"344\" height=\"516\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-800x1200.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-1020x1530.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-160x240.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-1024x1536.png 1024w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-1365x2048.png 1365w, https://ww2.kqed.org/app/uploads/sites/10/2022/12/598A0453-1920x2880.png 1920w\" sizes=\"(max-width: 344px) 100vw, 344px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">'Aegis,' by Wilson Ferreira, draws its name from a divine form of protection in Greek mythology. \u003ccite>(Courtesy of the SF LGBT Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back in Colorado, Wantings says, they were judged and ridiculed for their pronouns. “Out here I don’t feel like that. I feel very protected out here,” they say. “I feel seen. I feel heard. I feel valid.”\u003c/p>\n\u003cp>And even though they have only been in the Bay for a short period of time, Wantings says they have already formed deep connections. “I don’t even want to call them friends. I call them my chosen family — people who see me, who identify in similar ways as what I identify,” they say.\u003c/p>\n\u003cp>That chosen family has become their shield, Wantings says, so \u003ci>Aegis\u003c/i> reminds them of the care and protection they receive from the community. They point to their bag, which reads \"Protect Black women.\"\u003c/p>\n\u003cp>Colorado will always be their home, Wantings says. But they add that the Club Q shooting in Colorado Springs hit close to home — literally. They are still working through their grief.\u003c/p>\n\u003cp>“That’s actually somewhere I’ve been,” they say. “I’ve experienced that place. It was a beautiful place, I've seen drag shows there.” Throughout these difficult emotions, they’ve leaned on their new chosen family in the Bay Area.\u003c/p>\n\u003cp>“We have to be our own shield,” they say.\u003c/p>\n\u003cp>\u003cem>Correction (Dec. 19): The original version of this story incorrectly stated the year of the Pulse nightclub shooting as 2017. The event occurred June 12, 2016. The year has since been corrected.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11935621/we-have-to-be-our-own-shield-sfs-lgbtq-community-honors-victims-of-the-pulse-and-club-q-shootings-in-new-memorial","authors":["11708"],"categories":["news_29992","news_223","news_8"],"tags":["news_20257","news_2768","news_32176","news_20003","news_19345","news_32178","news_32177","news_29625","news_1285","news_1102"],"featImg":"news_11935640","label":"news"},"news_11929099":{"type":"posts","id":"news_11929099","meta":{"index":"posts_1591205157","site":"news","id":"11929099","score":null,"sort":[1665881316000]},"guestAuthors":[],"slug":"we-are-here-and-present-vandalized-mural-sparks-renewed-efforts-to-recognize-native-american-history","title":"'We Are Here and Present': New Native American Mural in Golden Gate Park, Despite Recent Vandalism, Continues Efforts to Uplift Bay Area Native History","publishDate":1665881316,"format":"standard","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>A turquoise, black and red street mural covering a section of the JFK Promenade with the words \"We Are on Native Land\" was vandalized on Thursday night.\u003c/p>\n\u003cp>Passersby and employees of the San Francisco Recreation and Parks Department first noticed the changes early Friday morning. The lead muralist on the project, Rachel Znerold, found out via text message. The mural had been finished just a few days before, in time for Indigenous Peoples Day. Now, she learned, someone had poured black paint over the word \"Native\" and written \"no such thing\" in yellow spray paint above the blacked-out word. [pullquote size=\"medium\" align=\"right\" citation=\"Aiko Little, vice chair, WGAW's Native American and Indigenous Writers Committee\"]'We are not an imaginary people or people of the past. This is Native land.'[/pullquote]In response, members of Bay Area Native American communities called the vandalism an attempt at cultural erasure.\u003c/p>\n\u003cp>\"The recognition of our community has been met repeatedly with resistance and violent behavior,\" said Mary Travis-Allen, advisory board president of San Francisco's \u003ca href=\"https://americanindianculturaldistrict.org/\">American Indian Cultural District\u003c/a>. \"Scraping paint off the ground does not erase us. We are here and present.\"\u003c/p>\n\u003cp>Janine Laiwa — member of the Pomo Nation, mural painter, volunteer and community ambassador for AICD — said the mural was done in good faith and with time, love and thought.\u003c/p>\n\u003cp>\"For someone to paint over the word 'Native' shows that racism against Native Americans is still a big issue in San Francisco,\" she said.[aside tag=\"indigenous, native\" label=\"More Related Stories\"]This sentiment was echoed by Aiko Little, vice chair of the Native American and Indigenous Writers Committee of the Writers Guild of America West, or WGAW, and member of the Oglala subtribe of the Lakota people.\u003c/p>\n\u003cp>\"This is not simply an act of vandalism, but an act of erasure that continues to linger behind the Native/Indigenous peoples since 1492. We are not an imaginary people or people of the past. This is Native land,\" Little said. \"I can only hope that the people who did this one day unlearn all the ignorance and prejudice instilled in their current actions.\"\u003c/p>\n\u003cp>San Francisco Recreation and Parks Department General Manager Phil Ginsburg said he was sickened by the hateful vandalism of the mural.\u003c/p>\n\u003cp>\"This ugly act cannot erase the beautiful message behind this installation,\" he said. \"It was specifically placed at the entrance of JFK Promenade to welcome people from around the world and (to) honor our shared connection to the land.\"\u003c/p>\n\u003cp>Jonathan Cordero, chair of the Ramaytush Ohlone peoples, the original inhabitants of the San Francisco peninsula, said he thought the act was more of an anomaly.\u003c/p>\n\u003cp>\"The San Francisco Bay Area is actually one of the areas in the United States where Native peoples have higher visibility than they do in other places, especially in major cities,\" said Cordero. \"I really see this (vandalism) as an aberration.\"\u003c/p>\n\u003cp>But, he added, \"when things like this happen, it becomes an opportunity for us to talk about who we are and, unfortunately, continue to have to say that we’re still here ... still living in our land, still trying to make our way in the world, despite the adverse consequences of colonization, which are still ongoing.\"\u003c/p>\n\u003cp>Sharaya Souza (Taos Pueblo, Ute, Kiowa), co-founder and executive director of the American Indian Cultural District, organized the mural after being asked by the SFRPD, the arts organization \u003ca href=\"https://illuminate.org/\">Illuminate\u003c/a>, and nonprofit \u003ca href=\"https://www.paintthevoid.org/\">Paint the Void\u003c/a> to participate in their Golden Mile Project along the JFK Promenade. The mural is also part of the AICD's \u003ca href=\"https://americanindianculturaldistrict.org/indigenizesf\">Indigenize Project\u003c/a>, celebrating the long history of Native American life in San Francisco through public art.\u003c/p>\n\u003cp>\"We still need to have conversations about being on Native land in San Francisco and how that makes some people feel uncomfortable,\" Souza said, adding that she would like to see the mural become a talking point and a permanent installation within Golden Gate Park.\u003c/p>\n\u003cp>Znerold, the muralist, spent Friday repairing the mural alongside other muralists and around a dozen volunteers. She said she plans to continue making murals honoring Native life in San Francisco.\u003c/p>\n\u003cp>\"We stand strong with our Native communities, and this has been a project that so many have poured their hearts into,\" she said, describing families and passersby who stopped to help with the painting while the mural was in progress. \"We're gonna fix it up and we're gonna keep coming back and fixing it up.\"\u003c/p>\n\u003cp>She added that, as a white woman working in collaboration with Native people, she can go home and choose to not engage with racists, but for people of color and Native people, \"this is what they're facing every day.\"\u003c/p>\n\u003cp>The work is part of ongoing efforts to fight racism.\u003c/p>\n\u003cp>\"If anti-racist work was done, then we wouldn't need to be out here. But it is the kind of work you have to keep showing up for every single day. So it's a reminder, a humbling reminder, that our work is continuous,\" said Znerold.\u003c/p>\n\u003cp>\"It's not actually taking anything away from you by just acknowledging the history and acknowledging the contributions and the gifts of the first people of this land.\"\u003c/p>\n\u003cp>By Friday evening, the mural had been fully restored.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"San Francisco's American Indian Cultural District commissioned the mural as part of their Indigenize project, celebrating the long history of Native American life in San Francisco through public art. ","status":"publish","parent":0,"modified":1666118402,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":881},"headData":{"title":"'We Are Here and Present': New Native American Mural in Golden Gate Park, Despite Recent Vandalism, Continues Efforts to Uplift Bay Area Native History | KQED","description":"San Francisco's American Indian Cultural District commissioned the mural as part of their Indigenize project, celebrating the long history of Native American life in San Francisco through public art. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'We Are Here and Present': New Native American Mural in Golden Gate Park, Despite Recent Vandalism, Continues Efforts to Uplift Bay Area Native History","datePublished":"2022-10-16T00:48:36.000Z","dateModified":"2022-10-18T18:40:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11929099 https://ww2.kqed.org/news/?p=11929099","disqusUrl":"https://ww2.kqed.org/news/2022/10/15/we-are-here-and-present-vandalized-mural-sparks-renewed-efforts-to-recognize-native-american-history/","disqusTitle":"'We Are Here and Present': New Native American Mural in Golden Gate Park, Despite Recent Vandalism, Continues Efforts to Uplift Bay Area Native History","excludeFromSiteSearch":"Include","path":"/news/11929099/we-are-here-and-present-vandalized-mural-sparks-renewed-efforts-to-recognize-native-american-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A turquoise, black and red street mural covering a section of the JFK Promenade with the words \"We Are on Native Land\" was vandalized on Thursday night.\u003c/p>\n\u003cp>Passersby and employees of the San Francisco Recreation and Parks Department first noticed the changes early Friday morning. The lead muralist on the project, Rachel Znerold, found out via text message. The mural had been finished just a few days before, in time for Indigenous Peoples Day. Now, she learned, someone had poured black paint over the word \"Native\" and written \"no such thing\" in yellow spray paint above the blacked-out word. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'We are not an imaginary people or people of the past. This is Native land.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Aiko Little, vice chair, WGAW's Native American and Indigenous Writers Committee","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In response, members of Bay Area Native American communities called the vandalism an attempt at cultural erasure.\u003c/p>\n\u003cp>\"The recognition of our community has been met repeatedly with resistance and violent behavior,\" said Mary Travis-Allen, advisory board president of San Francisco's \u003ca href=\"https://americanindianculturaldistrict.org/\">American Indian Cultural District\u003c/a>. \"Scraping paint off the ground does not erase us. We are here and present.\"\u003c/p>\n\u003cp>Janine Laiwa — member of the Pomo Nation, mural painter, volunteer and community ambassador for AICD — said the mural was done in good faith and with time, love and thought.\u003c/p>\n\u003cp>\"For someone to paint over the word 'Native' shows that racism against Native Americans is still a big issue in San Francisco,\" she said.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"indigenous, native","label":"More Related Stories "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This sentiment was echoed by Aiko Little, vice chair of the Native American and Indigenous Writers Committee of the Writers Guild of America West, or WGAW, and member of the Oglala subtribe of the Lakota people.\u003c/p>\n\u003cp>\"This is not simply an act of vandalism, but an act of erasure that continues to linger behind the Native/Indigenous peoples since 1492. We are not an imaginary people or people of the past. This is Native land,\" Little said. \"I can only hope that the people who did this one day unlearn all the ignorance and prejudice instilled in their current actions.\"\u003c/p>\n\u003cp>San Francisco Recreation and Parks Department General Manager Phil Ginsburg said he was sickened by the hateful vandalism of the mural.\u003c/p>\n\u003cp>\"This ugly act cannot erase the beautiful message behind this installation,\" he said. \"It was specifically placed at the entrance of JFK Promenade to welcome people from around the world and (to) honor our shared connection to the land.\"\u003c/p>\n\u003cp>Jonathan Cordero, chair of the Ramaytush Ohlone peoples, the original inhabitants of the San Francisco peninsula, said he thought the act was more of an anomaly.\u003c/p>\n\u003cp>\"The San Francisco Bay Area is actually one of the areas in the United States where Native peoples have higher visibility than they do in other places, especially in major cities,\" said Cordero. \"I really see this (vandalism) as an aberration.\"\u003c/p>\n\u003cp>But, he added, \"when things like this happen, it becomes an opportunity for us to talk about who we are and, unfortunately, continue to have to say that we’re still here ... still living in our land, still trying to make our way in the world, despite the adverse consequences of colonization, which are still ongoing.\"\u003c/p>\n\u003cp>Sharaya Souza (Taos Pueblo, Ute, Kiowa), co-founder and executive director of the American Indian Cultural District, organized the mural after being asked by the SFRPD, the arts organization \u003ca href=\"https://illuminate.org/\">Illuminate\u003c/a>, and nonprofit \u003ca href=\"https://www.paintthevoid.org/\">Paint the Void\u003c/a> to participate in their Golden Mile Project along the JFK Promenade. The mural is also part of the AICD's \u003ca href=\"https://americanindianculturaldistrict.org/indigenizesf\">Indigenize Project\u003c/a>, celebrating the long history of Native American life in San Francisco through public art.\u003c/p>\n\u003cp>\"We still need to have conversations about being on Native land in San Francisco and how that makes some people feel uncomfortable,\" Souza said, adding that she would like to see the mural become a talking point and a permanent installation within Golden Gate Park.\u003c/p>\n\u003cp>Znerold, the muralist, spent Friday repairing the mural alongside other muralists and around a dozen volunteers. She said she plans to continue making murals honoring Native life in San Francisco.\u003c/p>\n\u003cp>\"We stand strong with our Native communities, and this has been a project that so many have poured their hearts into,\" she said, describing families and passersby who stopped to help with the painting while the mural was in progress. \"We're gonna fix it up and we're gonna keep coming back and fixing it up.\"\u003c/p>\n\u003cp>She added that, as a white woman working in collaboration with Native people, she can go home and choose to not engage with racists, but for people of color and Native people, \"this is what they're facing every day.\"\u003c/p>\n\u003cp>The work is part of ongoing efforts to fight racism.\u003c/p>\n\u003cp>\"If anti-racist work was done, then we wouldn't need to be out here. But it is the kind of work you have to keep showing up for every single day. So it's a reminder, a humbling reminder, that our work is continuous,\" said Znerold.\u003c/p>\n\u003cp>\"It's not actually taking anything away from you by just acknowledging the history and acknowledging the contributions and the gifts of the first people of this land.\"\u003c/p>\n\u003cp>By Friday evening, the mural had been fully restored.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11929099/we-are-here-and-present-vandalized-mural-sparks-renewed-efforts-to-recognize-native-american-history","authors":["11626","11772"],"categories":["news_29992","news_223","news_31795","news_28250","news_8"],"tags":["news_20257","news_823","news_27966","news_28429","news_1247","news_30184","news_21512"],"featImg":"news_11929111","label":"news"},"news_11925859":{"type":"posts","id":"news_11925859","meta":{"index":"posts_1591205157","site":"news","id":"11925859","score":null,"sort":[1663348545000]},"guestAuthors":[],"slug":"how-to-get-free-museum-entry-this-saturday-sept-17","title":"How to Get Free Museum Entry This Saturday Sept. 17","publishDate":1663348545,"format":"standard","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>The \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=\">Smithsonian Magazine’s annual Museum Day is happening this Saturday, September 17\u003c/a>.\u003c/p>\n\u003cp>This means that you can get free entry to hundreds of participating museums across the country — including many in the Bay Area and beyond.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Jump straight to: \u003ca href=\"#museumsnearme\">Which museums near me are participating in Museum Day?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Want to get free entry to a museum near you? All you need to do is \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=&states=US::CA&\">download a Museum Day ticket for the museum you want to visit\u003c/a> from the Museum Day website, and present it to the participating museum on Saturday.\u003c/p>\n\u003cp>Be aware that you can download one ticket for two people, per email address — but you can only download one ticket to one museum for Museum Day, and once you select \"generate ticket,\" you won't be able to change your museum selection. The Smithsonian Magazine says that the offer is for United States residents only. Be aware that some museums may already have sold out of free Museum Day tickets.\u003c/p>\n\u003cp>For folks in the wider Bay Area looking to visit a museum for free this Saturday, keep reading for our list of just some of the participating museums. You can also see a full list of \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=&states=US::CA&\">every museum in California that's participating in Museum Day\u003c/a>.\u003c/p>\n\u003cp>And if you miss out on Museum Day this year, remember: You can still get free or low-cost entry to many museums all year round if you use an EBT card. \u003ca href=\"https://www.kqed.org/news/11915329/how-to-get-free-or-low-cost-museum-entry-this-summer-with-your-ebt-card\">Read more about how to get reduced-cost museum tickets if you use CalFresh.\u003c/a>\u003c/p>\n\u003ch3>\u003ca id=\"museumsnearme\">\u003c/a>San Francisco\u003c/h3>\n\u003ch2>Museum of Craft and Design\u003c/h2>\n\u003cp>Entrance to the \u003ca href=\"https://sfmcd.org/\">Museum of Craft and Design\u003c/a>, open every day except Mondays and Tuesdays, in San Francisco is usually $10 for general admission. The museum offers free admission to members, children under 12, and active-duty military personnel (including National Guard). With the Museum Day ticket, you and another guest can get in for free this Saturday. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/museum-of-craft-and-design/tickets/\">Download your Museum Day ticket to the Museum of Craft and Design here.\u003c/a>[aside postID=news_11915329 hero='https://ww2.kqed.org/app/uploads/sites/10/2022/05/RS47523_009_SanFrancisco_SkyStarWheel_03042021-qut-672x372.jpg']\u003c/p>\n\u003ch2>American Bookbinders Museum\u003c/h2>\n\u003cp>The \u003ca href=\"https://bookbindersmuseum.org/visit/\">American Bookbinders Museum\u003c/a> is regularly open Tuesday through Saturday, and entry is normally $15 for adults, $12 for seniors (62+) and youths (10-17), with children under 10 entering for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/american-bookbinders-museum/tickets/\">Download your free Museum Day ticket for two for the American Bookbinders Museum.\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-11925896\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-scaled.jpg\" alt=\"An image of a multicolored museum sign on a grassy surface during the day.\" width=\"2560\" height=\"1707\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-2048x1365.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003ch3>South Bay\u003c/h3>\n\u003ch2>San José Museum of Art\u003c/h2>\n\u003cp>General admission to the \u003ca href=\"https://sjmusart.org/visit\">San José Museum of Art\u003c/a> is $10 and free for members, teachers, college students, and youth and children. They’re open from Thursday through Saturday and are located on South Market Street in San José. \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/san-jose-museum-of-art/\">Download your free Museum Day ticket to visit the San José Museum of Art this Saturday. \u003c/a>\u003c/p>\n\u003ch2>New Museum Los Gatos\u003c/h2>\n\u003cp>If you’re looking for another museum to visit for free in the South Bay this Saturday, check out the \u003ca href=\"https://www.numulosgatos.org/\">New Museum Los Gatos\u003c/a>. General admission is $10 and free for Los Gatos residents, youth under 18 years old, active-duty military personnel, and more. If you don’t fall within these categories, you can enjoy a free visit this Saturday through the \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/new-museum-los-gatos/\">Museum Day ticket for the New Museum Los Gatos, which can be downloaded here.\u003c/a>\u003c/p>\n\u003ch3>North Bay\u003c/h3>\n\u003ch2>The di Rosa Center for Contemporary Art\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.dirosaart.org/\">di Rosa Center for Contemporary Art\u003c/a> is located on 217 acres nestled between Napa and Sonoma. So if you happen to be in the area, why not try visiting a museum? General admission is usually $20, but this Saturday, you can visit for free. \u003ca href=\"https://dirosaart.secure.force.com/ticket/?#/events/calendar\">Head over to di Rosa's website to get a free ticket\u003c/a>, or \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/di-rosa-center-for-contemporary-art-8WB/\">download a ticket to di Rosa directly from the Smithsonian Magazine website\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>Sacramento\u003c/h3>\n\u003ch2>California Automobile Museum\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.calautomuseum.org/\">California Automobile Museum\u003c/a> in Sacramento has over 130 vehicles in its exhibits, and they’re open Wednesday through Monday. General admission is $10 and children under 5 can get in for free. This Saturday, you and another guest can use the Museum Day ticket to enter for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/california-automobile-museum-54U/\">Download your ticket to the California Automobile Museum here.\u003c/a>\u003c/p>\n\u003ch2>California State Railroad Museum\u003c/h2>\n\u003cp>Learn the history of the California railways at the California State Railroad Museum in Sacramento. General admission tickets are usually $12 and free for children under 5 and members of the museum. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/california-state-railroad-museum/tickets/\">Download a Museum Day ticket and enjoy free admission for you and a guest to the California State Railroad Museum this Saturday.\u003c/a>\u003c/p>\n\u003ch2>Sacramento History Museum\u003c/h2>\n\u003cp>The \u003ca href=\"http://sachistorymuseum.org/visit/\">Sacramento History Museum\u003c/a> is located near the beautiful Sacramento River, and near the California State Railroad Museum. The museum is open seven days a week. General admission is $10, and children 5 and below can enter for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/sacramento-history-museum/tickets/\">Download your free Museum Day ticket for free entrance to the Sacramento History Museum this Saturday.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The Smithsonian Magazine's annual Museum Day is happening this Saturday, September 17, which means you can get free entry to hundreds of participating museums across the country.","status":"publish","parent":0,"modified":1663350076,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":812},"headData":{"title":"How to Get Free Museum Entry This Saturday Sept. 17 | KQED","description":"The Smithsonian Magazine's annual Museum Day is happening this Saturday, September 17, which means you can get free entry to hundreds of participating museums across the country.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"How to Get Free Museum Entry This Saturday Sept. 17","datePublished":"2022-09-16T17:15:45.000Z","dateModified":"2022-09-16T17:41:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11925859 https://ww2.kqed.org/news/?p=11925859","disqusUrl":"https://ww2.kqed.org/news/2022/09/16/how-to-get-free-museum-entry-this-saturday-sept-17/","disqusTitle":"How to Get Free Museum Entry This Saturday Sept. 17","excludeFromSiteSearch":"Include","path":"/news/11925859/how-to-get-free-museum-entry-this-saturday-sept-17","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=\">Smithsonian Magazine’s annual Museum Day is happening this Saturday, September 17\u003c/a>.\u003c/p>\n\u003cp>This means that you can get free entry to hundreds of participating museums across the country — including many in the Bay Area and beyond.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Jump straight to: \u003ca href=\"#museumsnearme\">Which museums near me are participating in Museum Day?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Want to get free entry to a museum near you? All you need to do is \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=&states=US::CA&\">download a Museum Day ticket for the museum you want to visit\u003c/a> from the Museum Day website, and present it to the participating museum on Saturday.\u003c/p>\n\u003cp>Be aware that you can download one ticket for two people, per email address — but you can only download one ticket to one museum for Museum Day, and once you select \"generate ticket,\" you won't be able to change your museum selection. The Smithsonian Magazine says that the offer is for United States residents only. Be aware that some museums may already have sold out of free Museum Day tickets.\u003c/p>\n\u003cp>For folks in the wider Bay Area looking to visit a museum for free this Saturday, keep reading for our list of just some of the participating museums. You can also see a full list of \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=&states=US::CA&\">every museum in California that's participating in Museum Day\u003c/a>.\u003c/p>\n\u003cp>And if you miss out on Museum Day this year, remember: You can still get free or low-cost entry to many museums all year round if you use an EBT card. \u003ca href=\"https://www.kqed.org/news/11915329/how-to-get-free-or-low-cost-museum-entry-this-summer-with-your-ebt-card\">Read more about how to get reduced-cost museum tickets if you use CalFresh.\u003c/a>\u003c/p>\n\u003ch3>\u003ca id=\"museumsnearme\">\u003c/a>San Francisco\u003c/h3>\n\u003ch2>Museum of Craft and Design\u003c/h2>\n\u003cp>Entrance to the \u003ca href=\"https://sfmcd.org/\">Museum of Craft and Design\u003c/a>, open every day except Mondays and Tuesdays, in San Francisco is usually $10 for general admission. The museum offers free admission to members, children under 12, and active-duty military personnel (including National Guard). With the Museum Day ticket, you and another guest can get in for free this Saturday. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/museum-of-craft-and-design/tickets/\">Download your Museum Day ticket to the Museum of Craft and Design here.\u003c/a>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11915329","hero":"https://ww2.kqed.org/app/uploads/sites/10/2022/05/RS47523_009_SanFrancisco_SkyStarWheel_03042021-qut-672x372.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>American Bookbinders Museum\u003c/h2>\n\u003cp>The \u003ca href=\"https://bookbindersmuseum.org/visit/\">American Bookbinders Museum\u003c/a> is regularly open Tuesday through Saturday, and entry is normally $15 for adults, $12 for seniors (62+) and youths (10-17), with children under 10 entering for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/american-bookbinders-museum/tickets/\">Download your free Museum Day ticket for two for the American Bookbinders Museum.\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-11925896\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-scaled.jpg\" alt=\"An image of a multicolored museum sign on a grassy surface during the day.\" width=\"2560\" height=\"1707\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-2048x1365.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003ch3>South Bay\u003c/h3>\n\u003ch2>San José Museum of Art\u003c/h2>\n\u003cp>General admission to the \u003ca href=\"https://sjmusart.org/visit\">San José Museum of Art\u003c/a> is $10 and free for members, teachers, college students, and youth and children. They’re open from Thursday through Saturday and are located on South Market Street in San José. \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/san-jose-museum-of-art/\">Download your free Museum Day ticket to visit the San José Museum of Art this Saturday. \u003c/a>\u003c/p>\n\u003ch2>New Museum Los Gatos\u003c/h2>\n\u003cp>If you’re looking for another museum to visit for free in the South Bay this Saturday, check out the \u003ca href=\"https://www.numulosgatos.org/\">New Museum Los Gatos\u003c/a>. General admission is $10 and free for Los Gatos residents, youth under 18 years old, active-duty military personnel, and more. If you don’t fall within these categories, you can enjoy a free visit this Saturday through the \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/new-museum-los-gatos/\">Museum Day ticket for the New Museum Los Gatos, which can be downloaded here.\u003c/a>\u003c/p>\n\u003ch3>North Bay\u003c/h3>\n\u003ch2>The di Rosa Center for Contemporary Art\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.dirosaart.org/\">di Rosa Center for Contemporary Art\u003c/a> is located on 217 acres nestled between Napa and Sonoma. So if you happen to be in the area, why not try visiting a museum? General admission is usually $20, but this Saturday, you can visit for free. \u003ca href=\"https://dirosaart.secure.force.com/ticket/?#/events/calendar\">Head over to di Rosa's website to get a free ticket\u003c/a>, or \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/di-rosa-center-for-contemporary-art-8WB/\">download a ticket to di Rosa directly from the Smithsonian Magazine website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>Sacramento\u003c/h3>\n\u003ch2>California Automobile Museum\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.calautomuseum.org/\">California Automobile Museum\u003c/a> in Sacramento has over 130 vehicles in its exhibits, and they’re open Wednesday through Monday. General admission is $10 and children under 5 can get in for free. This Saturday, you and another guest can use the Museum Day ticket to enter for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/california-automobile-museum-54U/\">Download your ticket to the California Automobile Museum here.\u003c/a>\u003c/p>\n\u003ch2>California State Railroad Museum\u003c/h2>\n\u003cp>Learn the history of the California railways at the California State Railroad Museum in Sacramento. General admission tickets are usually $12 and free for children under 5 and members of the museum. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/california-state-railroad-museum/tickets/\">Download a Museum Day ticket and enjoy free admission for you and a guest to the California State Railroad Museum this Saturday.\u003c/a>\u003c/p>\n\u003ch2>Sacramento History Museum\u003c/h2>\n\u003cp>The \u003ca href=\"http://sachistorymuseum.org/visit/\">Sacramento History Museum\u003c/a> is located near the beautiful Sacramento River, and near the California State Railroad Museum. The museum is open seven days a week. General admission is $10, and children 5 and below can enter for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/sacramento-history-museum/tickets/\">Download your free Museum Day ticket for free entrance to the Sacramento History Museum this Saturday.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11925859/how-to-get-free-museum-entry-this-saturday-sept-17","authors":["11631"],"categories":["news_223","news_8"],"tags":["news_20257","news_639"],"featImg":"news_11925946","label":"news"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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You ask the questions. You decide what Bay Curious investigates. 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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":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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