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"content": "\u003cp>\u003cem>This story is part of The California Report Magazine’s \u003ca href=\"https://www.kqed.org/news/tag/resilience\">series about resilient Californians\u003c/a>, and what lessons they may have for the rest of us.\u003c/em>\u003c/p>\n\u003cp>\u003cem>“Resilience lives to blaze a trail that has not been walked before.” \u003c/em>\u003cbr>\n\u003cem>“Resilience sounds like cries of rebellion.” \u003c/em>\u003cbr>\n\u003cem>“Resilience is the passing of the wind—when you think you’ve lost, but you’ve actually won if you keep going.”\u003c/em>\u003c/p>\n\u003cp>These are just some of the lines students across \u003ca href=\"https://www.kqed.org/news/tag/el-cerrito\">El Cerrito\u003c/a> have penned about resilience, as part of a citywide project with the \u003ca href=\"https://www.kqed.org/forum/2010101909435/how-poetry-serves-civic-life\">city’s acclaimed poet laureate, Tess Taylor\u003c/a>. Nearly 600 elementary and high school students have participated in the program, culminating in this month’s release of an anthology: “\u003ca href=\"https://poets.org/text/gardening-public-flowerfest-poetry-and-civic-repair\">Gardening In The Public Flowerfest\u003c/a>.”\u003c/p>\n\u003cp>“[Poetry is] about empathy. It’s about dreaming. It’s about pleasure,” Taylor said. “And it’s this art form where you don’t need an editor or a studio. You just have a pen and paper. and the details around you. And suddenly you have a bit more power over your story and your life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taylor pointed out that students in \u003ca href=\"https://www.kqed.org/news/tag/contra-costa-county\">Contra Costa County schools\u003c/a> have some of the lowest per capita funding for\u003ca href=\"https://mapartscontracosta.org/creative-pulse-report/Creative-Pulse-Report.pdf\"> arts programming\u003c/a> in the Bay Area.\u003c/p>\n\u003cp>“And arts programming is really important for imaginative life,” Taylor said.\u003c/p>\n\u003cfigure id=\"attachment_12040360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Thomas-Poem-1-scaled-e1747343213164.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12040360\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Thomas-Poem-1-scaled-e1747343213164.jpeg\" alt=\"\" width=\"2000\" height=\"1500\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A glimpse into the poetry notebook belonging to Thomas Kasuga-Jenks, a fourth grader in El Cerrito, Calif., who penned a poem about resilience. \u003ccite>(Courtesy Gabriel Cortez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fourth grader Thomas Kasuga-Jenks said poetry’s connection to resilience allows him to imagine other possibilities. “You can make things that nobody’s ever seen before,” he said. “And sometimes the things nobody’s ever seen before have them change their ways.”\u003c/p>\n\u003cp>“Sometimes you’re afraid to speak it out loud. Sometimes you’re even afraid to think it out loud,” Maya Colmenares said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gNbHPPJXGco\u003c/p>\n\u003cp>“In your writing, you can be strong and you can even proclaim that truth to other people, even if they don’t agree.”\u003c/p>\n\u003cp>“I think poetry has always been etched into me, like faith,” said Yasmin Dos Santos Almeida, an 11th grade student.\u003c/p>\n\u003cp>When she thinks about poetry and resilience, she remembers immigrating to America as a child and reading a book of rhymes.\u003c/p>\n\u003cp>“The only way that I thought of how to learn English was to write these little sentences where they sounded poetic and rhythmic.”\u003c/p>\n\u003cfigure id=\"attachment_12040358\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Yasmin-e1747335991443.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12040358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Yasmin-e1747335991443-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Yasmin-e1747335991443-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Yasmin-e1747335991443-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Yasmin-e1747335991443.jpeg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yasmin Dos Santos Almeida, an 11th grader, said poetry helped her learn English when she immigrated to the U.S. \u003ccite>(Courtesy of Tess Taylor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Unseen American Dream \u003c/strong>\u003c/em>\u003cbr>\n\u003cem>\u003cstrong>by Yasmin Dos Santos Almeida\u003c/strong>\u003cbr>\n\u003cem>They crossed the border, heads held low,\u003cbr>\nThrough endless nights, through winds that blew.\u003cbr>\nThey left behind a land in flames,\u003cbr>\nWhere tears fell like unspoken names.\u003c/em>\u003c/em>\u003c/p>\n\u003cp>\u003cem>The gates that promised warmth and light\u003c/em>\u003cbr>\n\u003cem>Are locked, they say, “You have no right.”\u003c/em>\u003cbr>\n\u003cem>How unfair this world, how cruel the game,\u003c/em>\u003cbr>\n\u003cem>For some, it’s wealth; for others, shame.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The child born here, in golden halls,\u003c/em>\u003cbr>\n\u003cem>Will never know the weight of walls.\u003c/em>\u003cbr>\n\u003cem>While those who flee with hungry eyes,\u003c/em>\u003cbr>\n\u003cem>Will face a future wrapped in lies.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The world is blind to all they’ve known,\u003c/em>\u003cbr>\n\u003cem>To all they’ve left and called their own.\u003c/em>\u003cbr>\n\u003cem>The laws that say who can belong,\u003c/em>\u003cbr>\n\u003cem>Are written in a bitter song.\u003c/em>\u003cbr>\n\u003cem>And every line, and every plea\u003c/em>\u003cbr>\n\u003cem>Is drowned by power’s endless sea.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12040366\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Isaac-e1747336684675.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12040366\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Isaac-e1747336684675-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Isaac-e1747336684675-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Isaac-e1747336684675-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Isaac-e1747336684675.jpeg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Isaac Fried, 10, posed with his poetry notebook in El Cerrito High School’s radio studio on April 3, 2025. \u003ccite>(Courtesy of Tess Taylor )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Yet still they rise, though hope is thin,\u003cbr>\nA fight to see the light within.\u003cbr>\nFor the privilege of the few,\u003cbr>\nMeans the broken dreams of me and you.\u003cbr>\nInjustice reigns, while silence falls,\u003cbr>\nAnd still, they walk—without a call.\u003c/em>\u003c/p>\n\u003cp>Isaac Fried, another fourth grader, sees poetry as a way to channel his inward emotions.\u003c/p>\n\u003cp>“I speak up, but sometimes there’s things I just like to keep private,” he said. “ If I write them, I can write whatever I want. Unlike people, a book will never scorn me for what I write.”\u003c/p>\n\u003cp>Le Asia Anderson, a senior at El Cerrito High, said writing helps her look for growth within herself.\u003c/p>\n\u003cp>“It’s not even like I’m searching for anything. It just helps me see new things that I wouldn’t know unless I’m writing about it.”\u003c/p>\n\u003cfigure id=\"attachment_12040363\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/LeAsia-e1747336803777.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12040363\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/LeAsia-e1747336803777-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/LeAsia-e1747336803777-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/LeAsia-e1747336803777-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/LeAsia-e1747336803777.jpeg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Le Asia Anderson, a senior at El Cerrito High, posed for a photograph in El Cerrito High School’s radio studio on April 3, 2025. Anderson said writing helps her “see new things.” \u003ccite>(Courtesy of Tess Taylor )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>I am a button \u003c/strong>\u003c/em>\u003cbr>\n\u003cem>\u003cstrong>by Le Asia Anderson\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>I feel as if I’m a button,\u003c/em>\u003cbr>\n\u003cem>trying in this life.\u003c/em>\u003cbr>\n\u003cem>A small button.\u003c/em>\u003cbr>\n\u003cem>hanging on by one thread.\u003c/em>\u003cbr>\n\u003cem>Knowing that I’m trying.\u003c/em>\u003cbr>\n\u003cem>Knowing that I’ll stay.\u003c/em>\u003cbr>\n\u003cem>Right here\u003c/em>\u003cbr>\n\u003cem>In this life,\u003c/em>\u003cbr>\n\u003cem>In my life.\u003c/em>\u003c/p>\n\u003cp>The students spoke with \u003ca href=\"https://www.kqed.org/californiareportmagazine\">The California Report Magazine\u003c/a> host Sasha Khokha as part of a series on Californians and resilience. To hear the students’ poems as part of this week’s episode of the show, click the red play button at the top of the page.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of The California Report Magazine’s \u003ca href=\"https://www.kqed.org/news/tag/resilience\">series about resilient Californians\u003c/a>, and what lessons they may have for the rest of us.\u003c/em>\u003c/p>\n\u003cp>\u003cem>“Resilience lives to blaze a trail that has not been walked before.” \u003c/em>\u003cbr>\n\u003cem>“Resilience sounds like cries of rebellion.” \u003c/em>\u003cbr>\n\u003cem>“Resilience is the passing of the wind—when you think you’ve lost, but you’ve actually won if you keep going.”\u003c/em>\u003c/p>\n\u003cp>These are just some of the lines students across \u003ca href=\"https://www.kqed.org/news/tag/el-cerrito\">El Cerrito\u003c/a> have penned about resilience, as part of a citywide project with the \u003ca href=\"https://www.kqed.org/forum/2010101909435/how-poetry-serves-civic-life\">city’s acclaimed poet laureate, Tess Taylor\u003c/a>. Nearly 600 elementary and high school students have participated in the program, culminating in this month’s release of an anthology: “\u003ca href=\"https://poets.org/text/gardening-public-flowerfest-poetry-and-civic-repair\">Gardening In The Public Flowerfest\u003c/a>.”\u003c/p>\n\u003cp>“[Poetry is] about empathy. It’s about dreaming. It’s about pleasure,” Taylor said. “And it’s this art form where you don’t need an editor or a studio. You just have a pen and paper. and the details around you. And suddenly you have a bit more power over your story and your life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taylor pointed out that students in \u003ca href=\"https://www.kqed.org/news/tag/contra-costa-county\">Contra Costa County schools\u003c/a> have some of the lowest per capita funding for\u003ca href=\"https://mapartscontracosta.org/creative-pulse-report/Creative-Pulse-Report.pdf\"> arts programming\u003c/a> in the Bay Area.\u003c/p>\n\u003cp>“And arts programming is really important for imaginative life,” Taylor said.\u003c/p>\n\u003cfigure id=\"attachment_12040360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Thomas-Poem-1-scaled-e1747343213164.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12040360\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Thomas-Poem-1-scaled-e1747343213164.jpeg\" alt=\"\" width=\"2000\" height=\"1500\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A glimpse into the poetry notebook belonging to Thomas Kasuga-Jenks, a fourth grader in El Cerrito, Calif., who penned a poem about resilience. \u003ccite>(Courtesy Gabriel Cortez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fourth grader Thomas Kasuga-Jenks said poetry’s connection to resilience allows him to imagine other possibilities. “You can make things that nobody’s ever seen before,” he said. “And sometimes the things nobody’s ever seen before have them change their ways.”\u003c/p>\n\u003cp>“Sometimes you’re afraid to speak it out loud. Sometimes you’re even afraid to think it out loud,” Maya Colmenares said.\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/gNbHPPJXGco'\n title='//www.youtube.com/embed/gNbHPPJXGco'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“In your writing, you can be strong and you can even proclaim that truth to other people, even if they don’t agree.”\u003c/p>\n\u003cp>“I think poetry has always been etched into me, like faith,” said Yasmin Dos Santos Almeida, an 11th grade student.\u003c/p>\n\u003cp>When she thinks about poetry and resilience, she remembers immigrating to America as a child and reading a book of rhymes.\u003c/p>\n\u003cp>“The only way that I thought of how to learn English was to write these little sentences where they sounded poetic and rhythmic.”\u003c/p>\n\u003cfigure id=\"attachment_12040358\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Yasmin-e1747335991443.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12040358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Yasmin-e1747335991443-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Yasmin-e1747335991443-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Yasmin-e1747335991443-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Yasmin-e1747335991443.jpeg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yasmin Dos Santos Almeida, an 11th grader, said poetry helped her learn English when she immigrated to the U.S. \u003ccite>(Courtesy of Tess Taylor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Unseen American Dream \u003c/strong>\u003c/em>\u003cbr>\n\u003cem>\u003cstrong>by Yasmin Dos Santos Almeida\u003c/strong>\u003cbr>\n\u003cem>They crossed the border, heads held low,\u003cbr>\nThrough endless nights, through winds that blew.\u003cbr>\nThey left behind a land in flames,\u003cbr>\nWhere tears fell like unspoken names.\u003c/em>\u003c/em>\u003c/p>\n\u003cp>\u003cem>The gates that promised warmth and light\u003c/em>\u003cbr>\n\u003cem>Are locked, they say, “You have no right.”\u003c/em>\u003cbr>\n\u003cem>How unfair this world, how cruel the game,\u003c/em>\u003cbr>\n\u003cem>For some, it’s wealth; for others, shame.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The child born here, in golden halls,\u003c/em>\u003cbr>\n\u003cem>Will never know the weight of walls.\u003c/em>\u003cbr>\n\u003cem>While those who flee with hungry eyes,\u003c/em>\u003cbr>\n\u003cem>Will face a future wrapped in lies.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The world is blind to all they’ve known,\u003c/em>\u003cbr>\n\u003cem>To all they’ve left and called their own.\u003c/em>\u003cbr>\n\u003cem>The laws that say who can belong,\u003c/em>\u003cbr>\n\u003cem>Are written in a bitter song.\u003c/em>\u003cbr>\n\u003cem>And every line, and every plea\u003c/em>\u003cbr>\n\u003cem>Is drowned by power’s endless sea.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12040366\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Isaac-e1747336684675.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12040366\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Isaac-e1747336684675-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Isaac-e1747336684675-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Isaac-e1747336684675-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/Isaac-e1747336684675.jpeg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Isaac Fried, 10, posed with his poetry notebook in El Cerrito High School’s radio studio on April 3, 2025. \u003ccite>(Courtesy of Tess Taylor )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Yet still they rise, though hope is thin,\u003cbr>\nA fight to see the light within.\u003cbr>\nFor the privilege of the few,\u003cbr>\nMeans the broken dreams of me and you.\u003cbr>\nInjustice reigns, while silence falls,\u003cbr>\nAnd still, they walk—without a call.\u003c/em>\u003c/p>\n\u003cp>Isaac Fried, another fourth grader, sees poetry as a way to channel his inward emotions.\u003c/p>\n\u003cp>“I speak up, but sometimes there’s things I just like to keep private,” he said. “ If I write them, I can write whatever I want. Unlike people, a book will never scorn me for what I write.”\u003c/p>\n\u003cp>Le Asia Anderson, a senior at El Cerrito High, said writing helps her look for growth within herself.\u003c/p>\n\u003cp>“It’s not even like I’m searching for anything. It just helps me see new things that I wouldn’t know unless I’m writing about it.”\u003c/p>\n\u003cfigure id=\"attachment_12040363\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/LeAsia-e1747336803777.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12040363\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/LeAsia-e1747336803777-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/LeAsia-e1747336803777-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/LeAsia-e1747336803777-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/05/LeAsia-e1747336803777.jpeg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Le Asia Anderson, a senior at El Cerrito High, posed for a photograph in El Cerrito High School’s radio studio on April 3, 2025. Anderson said writing helps her “see new things.” \u003ccite>(Courtesy of Tess Taylor )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>I am a button \u003c/strong>\u003c/em>\u003cbr>\n\u003cem>\u003cstrong>by Le Asia Anderson\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>I feel as if I’m a button,\u003c/em>\u003cbr>\n\u003cem>trying in this life.\u003c/em>\u003cbr>\n\u003cem>A small button.\u003c/em>\u003cbr>\n\u003cem>hanging on by one thread.\u003c/em>\u003cbr>\n\u003cem>Knowing that I’m trying.\u003c/em>\u003cbr>\n\u003cem>Knowing that I’ll stay.\u003c/em>\u003cbr>\n\u003cem>Right here\u003c/em>\u003cbr>\n\u003cem>In this life,\u003c/em>\u003cbr>\n\u003cem>In my life.\u003c/em>\u003c/p>\n\u003cp>The students spoke with \u003ca href=\"https://www.kqed.org/californiareportmagazine\">The California Report Magazine\u003c/a> host Sasha Khokha as part of a series on Californians and resilience. To hear the students’ poems as part of this week’s episode of the show, click the red play button at the top of the page.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Bay Area Chicana Blues Singer's New Album Is a Celebration of Spanish — a Language She Fought to Learn",
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"content": "\u003cp>When singer Marina Crouse was a child in Southern California, Spanish surrounded her but was not a language she spoke. She’s a fourth-generation Californian and a Chicana, but when she was born, in the late 1960s, speaking English was heavily prioritized.\u003c/p>\n\u003cp>“People now value being bilingual, but at that time, and before that, it was not necessarily valued,” says Crouse, who now lives in El Cerrito.\u003c/p>\n\u003cp>Eventually, as an adult, she made a concerted effort to learn Spanish. It was a pursuit she became so committed to that she has since become a Spanish professor at Diablo Valley College in Pleasant Hill.\u003c/p>\n\u003cp>But Crouse’s study of language and literature came only after she pursued a career in music.\u003c/p>\n\u003cfigure id=\"attachment_11916613\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11916613 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/IMG_8464-800x640.jpg\" alt=\"A women sings into a microphone.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Marina Crouse is well-known for her throaty blues. But her new album features Spanish songs originally sung by ‘crossover‘ artist Eydie Gormé. \u003ccite>(R Hakins/Freight and Salvage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I studied classical music [in college] and I thought I was going to be maybe an opera singer,” says Crouse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it was expensive to hire a teacher, and Crouse’s family couldn’t afford to help support her education. Crouse, who grew up in a lower-income, single-parent home, needed financial security, and wasn’t sure her love of music would translate into a true career.\u003c/p>\n\u003cp>Still, after college, graduate school, and a divorce, Crouse’s daughter encouraged her to return to music. She discovered that her bold, brassy voice was perfect for singing blues, and released her first album, “Never Too Soon,” in 2018.\u003c/p>\n\u003cp>https://youtu.be/O1-xmJmLTCQ\u003c/p>\n\u003cp>Now, Crouse is back with a new album , “\u003ca href=\"https://www.marinacrouse.com/music\">Canto de Mi Corazón\u003c/a>” (released by the Bay Area’s Little Village Foundation), that celebrates her love of the Spanish language. It’s also a tribute to an artist whose work has long inspired her.\u003c/p>\n\u003cfigure id=\"attachment_11916683\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/IMG_8543.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11916683 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/IMG_8543.jpg\" alt=\"A woman holds a record cover of an album called 'Amor' by Eydie Gormé and The Trio Los Panchos.\" width=\"240\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8543.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8543-160x213.jpg 160w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marina Crouse holds a copy of the album ‘Amor’ performed by Eydie Gormé and The Trio Los Panchos. Crouse remembers her grandmother playing the record whenever she would visit her as a child in Los Angeles. \u003ccite>(Courtesy Marina Crouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Crouse, the renowned singer \u003ca href=\"https://en.wikipedia.org/wiki/Eydie_Gorm%C3%A9\">Eydie Gormé\u003c/a> — who rose to stardom in the 1950s and 1960s — recorded in both English and Spanish. But Gormé’s background was a bit different: Her parents were Turkish-born Jews who emigrated to New York and spoke Ladino, a language derived from Spanish by Jews who were expelled from their homeland during the Spanish Inquisition. \u003ca href=\"https://www.youtube.com/watch?v=kQeGLk4nGus&ab_channel=iTubeNL\">Gormé performed in Spanish\u003c/a> with a group called The Trio Los Panchos, becoming among the earliest so-called “crossover” artists.\u003c/p>\n\u003cp>“Her music, and the music she did in Spanish with Trio Los Panchos, was probably the most memorable music for me growing up,” says Crouse, whose new album pays tribute to Gormé, with versions of the songs “Piel Canela, Sabor a Mi” and “Cuando Vuelva a tu Lado.” She sings the entire album in Spanish.\u003c/p>\n\u003cp>Crouse, who grew up in Los Angeles, says her childhood was difficult. She moved around a lot and attended many different schools, she recalls.\u003c/p>\n\u003cp>But when she was a child, her grandmother’s house was an anchor for her. And that’s where she first encountered Gormé’s music, immediately noticing how happy it made her grandmother.\u003c/p>\n\u003cfigure id=\"attachment_11916611\" class=\"wp-caption alignright\" style=\"max-width: 232px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/Granny-.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11916611\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/Granny-.jpg\" alt=\"A young girl and a baby sit on an elderly woman's lap.\" width=\"232\" height=\"185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/Granny-.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/Granny--160x128.jpg 160w\" sizes=\"(max-width: 232px) 100vw, 232px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marina Crouse (left) says listening to Eydie Gormé’s records in Spanish with her grandmother is among her favorite memories from a childhood that was otherwise turbulent. \u003ccite>(Courtesy Marina Crouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She had one of these big stereos that look like a 1960s TV console,” Crouse says. “And you would lift up the heavy top and put the records on in there and then the speakers were on each side.”\u003c/p>\n\u003cp>Crouse remembers studying the album covers, reading the names of songs and looking at the pictures. Even though she didn’t understand the lyrics back then, the music — and the experience — left a lasting impression.\u003c/p>\n\u003cp>“It was this sort of magical thing. And the music was so beautiful,” she says.\u003c/p>\n\u003cp>“Piel Canela” is one of Crouse’s favorite tracks on the new album.\u003c/p>\n\u003cp>“The lyrics are just so gorgeous,” she says. “It’s about brown skin, and the beauty of brown skin.”\u003c/p>\n\u003cp>Crouse says singing in Spanish “feels incredible” after the frustration she experienced as a child, when people often assumed she spoke Spanish, and she sometimes felt ashamed because she didn’t.\u003c/p>\n\u003cp>“I used to sort of phonetically sing along, but I didn’t really understand what they were talking about,” she says. “After spending all these years studying Spanish and teaching literature and poetry and really, you know, sinking into words, it just feels … it sounds very cliché — it just feels like home.”\u003c/p>\n\u003cp>https://youtu.be/p046AdGMDc4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Marina Crouse plans to celebrate her new album at a \u003ca href=\"https://www.bandsintown.com/artist-rsvp/11902503?event_id=103493680&utm_campaign=event&utm_medium=api&app_id=WIX_marina-crouse-sings&utm_source=public_api&came_from=267&spn=0&signature=ZZea27e3c573a72de12bebfee46904818726858739fbb90311044b19ab85c27f88\">record release party \u003c/a>July 23 at The Sound Room in Oakland. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When singer Marina Crouse was a child in Southern California, Spanish surrounded her but was not a language she spoke. She’s a fourth-generation Californian and a Chicana, but when she was born, in the late 1960s, speaking English was heavily prioritized.\u003c/p>\n\u003cp>“People now value being bilingual, but at that time, and before that, it was not necessarily valued,” says Crouse, who now lives in El Cerrito.\u003c/p>\n\u003cp>Eventually, as an adult, she made a concerted effort to learn Spanish. It was a pursuit she became so committed to that she has since become a Spanish professor at Diablo Valley College in Pleasant Hill.\u003c/p>\n\u003cp>But Crouse’s study of language and literature came only after she pursued a career in music.\u003c/p>\n\u003cfigure id=\"attachment_11916613\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11916613 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/IMG_8464-800x640.jpg\" alt=\"A women sings into a microphone.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Marina Crouse is well-known for her throaty blues. But her new album features Spanish songs originally sung by ‘crossover‘ artist Eydie Gormé. \u003ccite>(R Hakins/Freight and Salvage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I studied classical music [in college] and I thought I was going to be maybe an opera singer,” says Crouse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it was expensive to hire a teacher, and Crouse’s family couldn’t afford to help support her education. Crouse, who grew up in a lower-income, single-parent home, needed financial security, and wasn’t sure her love of music would translate into a true career.\u003c/p>\n\u003cp>Still, after college, graduate school, and a divorce, Crouse’s daughter encouraged her to return to music. She discovered that her bold, brassy voice was perfect for singing blues, and released her first album, “Never Too Soon,” in 2018.\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/O1-xmJmLTCQ'\n title='//www.youtube.com/embed/O1-xmJmLTCQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, Crouse is back with a new album , “\u003ca href=\"https://www.marinacrouse.com/music\">Canto de Mi Corazón\u003c/a>” (released by the Bay Area’s Little Village Foundation), that celebrates her love of the Spanish language. It’s also a tribute to an artist whose work has long inspired her.\u003c/p>\n\u003cfigure id=\"attachment_11916683\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/IMG_8543.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11916683 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/IMG_8543.jpg\" alt=\"A woman holds a record cover of an album called 'Amor' by Eydie Gormé and The Trio Los Panchos.\" width=\"240\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8543.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8543-160x213.jpg 160w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marina Crouse holds a copy of the album ‘Amor’ performed by Eydie Gormé and The Trio Los Panchos. Crouse remembers her grandmother playing the record whenever she would visit her as a child in Los Angeles. \u003ccite>(Courtesy Marina Crouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Crouse, the renowned singer \u003ca href=\"https://en.wikipedia.org/wiki/Eydie_Gorm%C3%A9\">Eydie Gormé\u003c/a> — who rose to stardom in the 1950s and 1960s — recorded in both English and Spanish. But Gormé’s background was a bit different: Her parents were Turkish-born Jews who emigrated to New York and spoke Ladino, a language derived from Spanish by Jews who were expelled from their homeland during the Spanish Inquisition. \u003ca href=\"https://www.youtube.com/watch?v=kQeGLk4nGus&ab_channel=iTubeNL\">Gormé performed in Spanish\u003c/a> with a group called The Trio Los Panchos, becoming among the earliest so-called “crossover” artists.\u003c/p>\n\u003cp>“Her music, and the music she did in Spanish with Trio Los Panchos, was probably the most memorable music for me growing up,” says Crouse, whose new album pays tribute to Gormé, with versions of the songs “Piel Canela, Sabor a Mi” and “Cuando Vuelva a tu Lado.” She sings the entire album in Spanish.\u003c/p>\n\u003cp>Crouse, who grew up in Los Angeles, says her childhood was difficult. She moved around a lot and attended many different schools, she recalls.\u003c/p>\n\u003cp>But when she was a child, her grandmother’s house was an anchor for her. And that’s where she first encountered Gormé’s music, immediately noticing how happy it made her grandmother.\u003c/p>\n\u003cfigure id=\"attachment_11916611\" class=\"wp-caption alignright\" style=\"max-width: 232px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/Granny-.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11916611\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/Granny-.jpg\" alt=\"A young girl and a baby sit on an elderly woman's lap.\" width=\"232\" height=\"185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/Granny-.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/Granny--160x128.jpg 160w\" sizes=\"(max-width: 232px) 100vw, 232px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marina Crouse (left) says listening to Eydie Gormé’s records in Spanish with her grandmother is among her favorite memories from a childhood that was otherwise turbulent. \u003ccite>(Courtesy Marina Crouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She had one of these big stereos that look like a 1960s TV console,” Crouse says. “And you would lift up the heavy top and put the records on in there and then the speakers were on each side.”\u003c/p>\n\u003cp>Crouse remembers studying the album covers, reading the names of songs and looking at the pictures. Even though she didn’t understand the lyrics back then, the music — and the experience — left a lasting impression.\u003c/p>\n\u003cp>“It was this sort of magical thing. And the music was so beautiful,” she says.\u003c/p>\n\u003cp>“Piel Canela” is one of Crouse’s favorite tracks on the new album.\u003c/p>\n\u003cp>“The lyrics are just so gorgeous,” she says. “It’s about brown skin, and the beauty of brown skin.”\u003c/p>\n\u003cp>Crouse says singing in Spanish “feels incredible” after the frustration she experienced as a child, when people often assumed she spoke Spanish, and she sometimes felt ashamed because she didn’t.\u003c/p>\n\u003cp>“I used to sort of phonetically sing along, but I didn’t really understand what they were talking about,” she says. “After spending all these years studying Spanish and teaching literature and poetry and really, you know, sinking into words, it just feels … it sounds very cliché — it just feels like home.”\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/p046AdGMDc4'\n title='//www.youtube.com/embed/p046AdGMDc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cem>Marina Crouse plans to celebrate her new album at a \u003ca href=\"https://www.bandsintown.com/artist-rsvp/11902503?event_id=103493680&utm_campaign=event&utm_medium=api&app_id=WIX_marina-crouse-sings&utm_source=public_api&came_from=267&spn=0&signature=ZZea27e3c573a72de12bebfee46904818726858739fbb90311044b19ab85c27f88\">record release party \u003c/a>July 23 at The Sound Room in Oakland. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>250 teachers in the West Contra Costa Unified School District \u003ca href=\"http://bit.ly/fioreteacherlayoffs\" target=\"_blank\" rel=\"noopener noreferrer\">may be laid off\u003c/a> as part of a plan to close a $32 million budget shortfall.\u003c/p>\n\u003cp>Wait, what?\u003c/p>\n\u003cp>In this time of \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2019/05/06/pacific-heights-mansion-most-expensive-sold-2019.html\" target=\"_blank\" rel=\"noopener noreferrer\">glory\u003c/a>, \u003ca href=\"https://abc.xyz/investor/static/pdf/2019Q4_alphabet_earnings_release.pdf?cache=05bd9fe\" target=\"_blank\" rel=\"noopener noreferrer\">wealth\u003c/a> and \u003ca href=\"https://www.bizjournals.com/sanjose/news/2019/12/18/bay-area-venture-funding-report-crunchbase.html\" target=\"_blank\" rel=\"noopener noreferrer\">abundance\u003c/a>, we're actually talking about laying off teachers in the Richmond-based district?\u003c/p>\n\u003cp>The president of the United Teachers of Richmond union said that, after non-teaching staff is included, the district may lay off a total of 400 people.\u003c/p>\n\u003cp>Class sizes may increase and millions more may be cut from school budgets.\u003c/p>\n\u003cp>Isn't this the kind of thing that happens in a recession, not when the economy is going bonkers?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>250 teachers in the West Contra Costa Unified School District \u003ca href=\"http://bit.ly/fioreteacherlayoffs\" target=\"_blank\" rel=\"noopener noreferrer\">may be laid off\u003c/a> as part of a plan to close a $32 million budget shortfall.\u003c/p>\n\u003cp>Wait, what?\u003c/p>\n\u003cp>In this time of \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2019/05/06/pacific-heights-mansion-most-expensive-sold-2019.html\" target=\"_blank\" rel=\"noopener noreferrer\">glory\u003c/a>, \u003ca href=\"https://abc.xyz/investor/static/pdf/2019Q4_alphabet_earnings_release.pdf?cache=05bd9fe\" target=\"_blank\" rel=\"noopener noreferrer\">wealth\u003c/a> and \u003ca href=\"https://www.bizjournals.com/sanjose/news/2019/12/18/bay-area-venture-funding-report-crunchbase.html\" target=\"_blank\" rel=\"noopener noreferrer\">abundance\u003c/a>, we're actually talking about laying off teachers in the Richmond-based district?\u003c/p>\n\u003cp>The president of the United Teachers of Richmond union said that, after non-teaching staff is included, the district may lay off a total of 400 people.\u003c/p>\n\u003cp>Class sizes may increase and millions more may be cut from school budgets.\u003c/p>\n\u003cp>Isn't this the kind of thing that happens in a recession, not when the economy is going bonkers?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Playland At-The-Beach Tribute Museum to Close For Good on Monday",
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"content": "\u003cp>A museum tribute to the iconic San Francisco amusement park known as Playland At-The-Beach is open for the last time this weekend.\u003c/p>\n\u003cp>Playland was an amusement park at Ocean Beach that opened in the 1920's but closed 50 years later.\u003c/p>\n\u003cp>At its height, Playland At-The-Beach could draw some 50,000 people on the weekends.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=HrTEakOluMU]\u003c/p>\n\u003cp>Many of its artifacts were saved by volunteers and are displayed in a converted office building in El Cerrito.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tim Sauer owns and operates Playland Not-At-The-Beach with his husband. It's part museum, part arcade, all paying tribute to the original Playland.\u003c/p>\n\u003cfigure id=\"attachment_11690207\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11690207 size-large\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tim Sauer, who owns Playland Not-At-The-Beach with his husband, sits in his office there on the last weekend his \"labor of love\" will be open. (Sonja Hutson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The museum is shutting down for good on Monday. The new owner of the building is demolishing it to make way for a housing development.\u003c/p>\n\u003cfigure id=\"attachment_11690208\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11690208 size-large\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Pinball Alley at Playland Not-At-The-Beach is one of the museums's most popular attractions. (Sonja Hutson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\"I think we're a reminder of the way people used to entertain themselves,\" says Sauer. \"There's a lot more physical activity here. It's not a video game, where you're just using your thumbs to move things. And that's gone.\"\u003c/p>\n\u003cfigure id=\"attachment_11690209\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11690209 size-large\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Linda Cuckovich and her two daughters, Evie and Rachel Luskin, went to Playland Not-At-The-Beach for the first time this weekend. (Sonja Hutson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Linda Cuckovich thinks so too. She was at Playland playing Skeeball with her two daughters.\u003c/p>\n\u003cp>\"This feels very of another time,\" says Cuckovich. \"It’s probably not gonna be possible to play Skeeball with your kids on a Sunday.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cuckovich and her daughters aren't the only one getting in on some last-minute fun. Sauer says he's seen five times as many people visiting Playland in the last few weeks.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tim Sauer owns and operates Playland Not-At-The-Beach with his husband. It's part museum, part arcade, all paying tribute to the original Playland.\u003c/p>\n\u003cfigure id=\"attachment_11690207\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11690207 size-large\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32685_IMG_6366-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tim Sauer, who owns Playland Not-At-The-Beach with his husband, sits in his office there on the last weekend his \"labor of love\" will be open. (Sonja Hutson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The museum is shutting down for good on Monday. The new owner of the building is demolishing it to make way for a housing development.\u003c/p>\n\u003cfigure id=\"attachment_11690208\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11690208 size-large\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32686_IMG_6382-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Pinball Alley at Playland Not-At-The-Beach is one of the museums's most popular attractions. (Sonja Hutson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\"I think we're a reminder of the way people used to entertain themselves,\" says Sauer. \"There's a lot more physical activity here. It's not a video game, where you're just using your thumbs to move things. And that's gone.\"\u003c/p>\n\u003cfigure id=\"attachment_11690209\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11690209 size-large\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-1020x765.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS32692_IMG_6388-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Linda Cuckovich and her two daughters, Evie and Rachel Luskin, went to Playland Not-At-The-Beach for the first time this weekend. (Sonja Hutson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Linda Cuckovich thinks so too. She was at Playland playing Skeeball with her two daughters.\u003c/p>\n\u003cp>\"This feels very of another time,\" says Cuckovich. \"It’s probably not gonna be possible to play Skeeball with your kids on a Sunday.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cuckovich and her daughters aren't the only one getting in on some last-minute fun. Sauer says he's seen five times as many people visiting Playland in the last few weeks.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I saw my first TEPCO dish at the Alameda Antiques Fair. A stack of floral patterned plates sat on a table, waiting to be bought. The pink glaze glistened in the sun. I immediately fell in love.\u003c/p>\n\u003cp>TEPCO dishes are ceramic, dense and glossy; the types of dishes you might find at a diner. From 1930 to 1968, TEPCO — the Technical Porcelain and Chinaware Company — made dishes like these out of their factory in El Cerrito, north of Berkeley. And though they look pretty ordinary, TEPCO dishes are actually really meaningful to a small band of collectors all over California.\u003c/p>\n\u003cp>Sandi Genser-Maack and her husband, Lynn Maack, are TEPCO collectors. For years, they’ve been scouring flea markets and estate sales, in search of these heavy, kitschy dishes. Sandi remembers when she and Lynn scored a rare TEPCO find.\u003c/p>\n\u003cp>“We always go antiquing wherever we go. And way down low, in a cabinet where you could hardly see were two Doggie Diner mugs! We bought them, and we were so excited we were quivering,” Sandi says.\u003c/p>\n\u003cp>Sandi and Lynn have an outdoor shed filled with TEPCO dishes. They had a newsletter called the TEPCO Tribune, and started the TEPCO Collectors Club. Every few months, club members would get together, and visit restaurants that still use TEPCO dishes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a cafe in El Cerrito, Sandi and Lynn flip through a binder full of images from the original TEPCO catalogue. They have pictures of every plate ever made, in every pattern.\u003c/p>\n\u003cp>Some dishes sport wild decorations: bamboo leaves, wagon wheels, flowers, and pagodas. And each pattern has an equally wild name, like “Confucius,” “Western Traveler,” “Pixie,” and “Flame.”\u003c/p>\n\u003cp>Even though they love TEPCO, Sandi and Lynn also know that, to most people, TEPCO dishes are kind of ugly and clunky. “They’ve got dings, scratches, and knots. And the quality is very bad, but we love them,” Sandi says.\u003c/p>\n\u003cfigure id=\"attachment_11679711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679711\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-800x499.jpg\" alt=\"Lynn Maack and his late wife Sandi Genser Maack pose with their TEPCO collection at the Richmond Museum's TEPCO exhibition in 2011.\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-960x598.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-520x324.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Maack and his late wife Sandi Genser Maack pose with their TEPCO collection at the Richmond Museum’s TEPCO exhibition in 2011. \u003ccite>(Courtesy of Lynn Maack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The TEPCO factory was really a centerpiece for the El Cerrito community. TEPCO was El Cerrito’s biggest employer. Hundreds of people worked at the factory, making tens of thousands of pieces of pottery every day.\u003c/p>\n\u003cp>TEPCO was founded in 1930 by Italian immigrant John Pagliero. He started out making porcelain kitchen appliances, like toilets and sinks. But Pagliero realized he could do a lot more business by selling everyday items, like plates and cups.\u003c/p>\n\u003cp>Pagliero made a name for himself as a great salesman, and TEPCO dishes were everywhere. Local Bay Area restaurants like Louie’s Restaurant Club, Doggie Diner and Spenger’s Fish Grotto asked Pagliero to create custom designed plates. TEPCO dishes were even used at the Kaiser shipyards. The U.S. Army and Navy used full sets of TEPCO in their mess halls and on their ships.\u003c/p>\n\u003cp>Local families also used TEPCO dishes in their kitchens. El Cerrito mothers, the story goes, used to tell their kids to bike down to the TEPCO factory to pick up an extra table setting.\u003c/p>\n\u003cp>The factory was going strong, until John Pagliero died in 1968. Tom Panas from the \u003ca href=\"http://www.elcerritohistoricalsociety.org/\">El Cerrito Historical Society\u003c/a> says rumor has it that the family was squabbling over who would take over. And, at the same time, El Cerrito was changing, becoming more residential. Some neighbors didn’t want to live next to a big, noisy factory. Whatever the reason, the factory closed down in 1968.*\u003c/p>\n\u003cp>Now, all that’s left of the factory is a place affectionately known as TEPCO Beach. Factory workers used to drive the broken plates over to Point Isabel, in Richmond, and dump them along the shoreline.\u003c/p>\n\u003cp>The porcelain pieces were never cleaned up, and now, multicolored TEPCO shards are piled in a thick layer on top of the sand, mixed in with dried seaweed. Walk on the beach, and you hear the crunch of porcelain underneath your feet.\u003c/p>\n\u003cfigure id=\"attachment_11679713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679713\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-800x600.jpg\" alt=\"Shards amongst seaweed and sand on TEPCO beach.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shards amongst seaweed and sand on TEPCO beach. \u003ccite>(Ariel Plotnick/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>TEPCO beach is tucked away off the Point Isabel bike path, but those who know of this secret spot like to come and hunt for special treasures: patterned pieces, handles broken off from teacups and, if you’re lucky, a full-sized plate.\u003c/p>\n\u003cp>On a recent day at TEPCO beach, Lynn Maack is watching the tide wash in over the shards.\u003c/p>\n\u003cp>His wife, Sandi, passed away a few months earlier.\u003c/p>\n\u003cp>“You know I look at some of my TEPCO collection, and it’s lost some of its luster. It’s something Sandi and I did together, and now I can’t even look at some of it,” Lynn says.\u003c/p>\n\u003cp>People with a passion for TEPCO are getting harder and harder to find, and, it’s even more difficult to find people who remember life at the factory.\u003c/p>\n\u003cp>I was going to interview a man named Frank Storno, the last living TEPCO factory worker. But the day before our interview, he died. He was 101 years old. As TEPCO fans start to disappear, Lynn’s TEPCO collection has taken on even more meaning, a sort of ode to the factory and the people that handmade these dishes.\u003c/p>\n\u003cp>Lynn has considered that, to some people, his TEPCO collection is just a set of ugly dishes, nothing more.\u003c/p>\n\u003cp>“They’re probably not going to be important to someone else when I’m gone,” he says.\u003c/p>\n\u003cp>But, it’s important to me.\u003c/p>\n\u003cp>I’ve started collecting TEPCO dishes now. They’re pretty easy to find at flea markets all around California, especially the Alameda Antiques Fair. But I think it’s more fun to see TEPCO dishes in use, in the wild.\u003c/p>\n\u003cp>Every so often, I sit down to eat at a diner, and think I see a TEPCO plate. I now flip dishes over to check if they have the green TEPCO stamp on the back. They rarely do.\u003c/p>\n\u003cp>But, I’ll keep flipping dishes over. Because one day, I might find a TEPCO plate. And that will be really nice.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>*An earlier version of this story incorrectly attributed the factory’s closure in 1968 to a kiln fire. While there was a fire in 1946, Pagliero rebuilt the factory then. We regret the error.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a cafe in El Cerrito, Sandi and Lynn flip through a binder full of images from the original TEPCO catalogue. They have pictures of every plate ever made, in every pattern.\u003c/p>\n\u003cp>Some dishes sport wild decorations: bamboo leaves, wagon wheels, flowers, and pagodas. And each pattern has an equally wild name, like “Confucius,” “Western Traveler,” “Pixie,” and “Flame.”\u003c/p>\n\u003cp>Even though they love TEPCO, Sandi and Lynn also know that, to most people, TEPCO dishes are kind of ugly and clunky. “They’ve got dings, scratches, and knots. And the quality is very bad, but we love them,” Sandi says.\u003c/p>\n\u003cfigure id=\"attachment_11679711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679711\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-800x499.jpg\" alt=\"Lynn Maack and his late wife Sandi Genser Maack pose with their TEPCO collection at the Richmond Museum's TEPCO exhibition in 2011.\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-1180x736.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-960x598.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31277_Plotnick_SandiLynn_TEPCO-qut-1200x748-520x324.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Maack and his late wife Sandi Genser Maack pose with their TEPCO collection at the Richmond Museum’s TEPCO exhibition in 2011. \u003ccite>(Courtesy of Lynn Maack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The TEPCO factory was really a centerpiece for the El Cerrito community. TEPCO was El Cerrito’s biggest employer. Hundreds of people worked at the factory, making tens of thousands of pieces of pottery every day.\u003c/p>\n\u003cp>TEPCO was founded in 1930 by Italian immigrant John Pagliero. He started out making porcelain kitchen appliances, like toilets and sinks. But Pagliero realized he could do a lot more business by selling everyday items, like plates and cups.\u003c/p>\n\u003cp>Pagliero made a name for himself as a great salesman, and TEPCO dishes were everywhere. Local Bay Area restaurants like Louie’s Restaurant Club, Doggie Diner and Spenger’s Fish Grotto asked Pagliero to create custom designed plates. TEPCO dishes were even used at the Kaiser shipyards. The U.S. Army and Navy used full sets of TEPCO in their mess halls and on their ships.\u003c/p>\n\u003cp>Local families also used TEPCO dishes in their kitchens. El Cerrito mothers, the story goes, used to tell their kids to bike down to the TEPCO factory to pick up an extra table setting.\u003c/p>\n\u003cp>The factory was going strong, until John Pagliero died in 1968. Tom Panas from the \u003ca href=\"http://www.elcerritohistoricalsociety.org/\">El Cerrito Historical Society\u003c/a> says rumor has it that the family was squabbling over who would take over. And, at the same time, El Cerrito was changing, becoming more residential. Some neighbors didn’t want to live next to a big, noisy factory. Whatever the reason, the factory closed down in 1968.*\u003c/p>\n\u003cp>Now, all that’s left of the factory is a place affectionately known as TEPCO Beach. Factory workers used to drive the broken plates over to Point Isabel, in Richmond, and dump them along the shoreline.\u003c/p>\n\u003cp>The porcelain pieces were never cleaned up, and now, multicolored TEPCO shards are piled in a thick layer on top of the sand, mixed in with dried seaweed. Walk on the beach, and you hear the crunch of porcelain underneath your feet.\u003c/p>\n\u003cfigure id=\"attachment_11679713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679713\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-800x600.jpg\" alt=\"Shards amongst seaweed and sand on TEPCO beach.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/06/RS31276_Plotnick_TEPCOBeach-qut-1200x900-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shards amongst seaweed and sand on TEPCO beach. \u003ccite>(Ariel Plotnick/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>TEPCO beach is tucked away off the Point Isabel bike path, but those who know of this secret spot like to come and hunt for special treasures: patterned pieces, handles broken off from teacups and, if you’re lucky, a full-sized plate.\u003c/p>\n\u003cp>On a recent day at TEPCO beach, Lynn Maack is watching the tide wash in over the shards.\u003c/p>\n\u003cp>His wife, Sandi, passed away a few months earlier.\u003c/p>\n\u003cp>“You know I look at some of my TEPCO collection, and it’s lost some of its luster. It’s something Sandi and I did together, and now I can’t even look at some of it,” Lynn says.\u003c/p>\n\u003cp>People with a passion for TEPCO are getting harder and harder to find, and, it’s even more difficult to find people who remember life at the factory.\u003c/p>\n\u003cp>I was going to interview a man named Frank Storno, the last living TEPCO factory worker. But the day before our interview, he died. He was 101 years old. As TEPCO fans start to disappear, Lynn’s TEPCO collection has taken on even more meaning, a sort of ode to the factory and the people that handmade these dishes.\u003c/p>\n\u003cp>Lynn has considered that, to some people, his TEPCO collection is just a set of ugly dishes, nothing more.\u003c/p>\n\u003cp>“They’re probably not going to be important to someone else when I’m gone,” he says.\u003c/p>\n\u003cp>But, it’s important to me.\u003c/p>\n\u003cp>I’ve started collecting TEPCO dishes now. They’re pretty easy to find at flea markets all around California, especially the Alameda Antiques Fair. But I think it’s more fun to see TEPCO dishes in use, in the wild.\u003c/p>\n\u003cp>Every so often, I sit down to eat at a diner, and think I see a TEPCO plate. I now flip dishes over to check if they have the green TEPCO stamp on the back. They rarely do.\u003c/p>\n\u003cp>But, I’ll keep flipping dishes over. Because one day, I might find a TEPCO plate. And that will be really nice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>*An earlier version of this story incorrectly attributed the factory’s closure in 1968 to a kiln fire. While there was a fire in 1946, Pagliero rebuilt the factory then. We regret the error.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-punjabi-immigrant-who-started-el-cerritos-favorite-christmas-tradition",
"title": "The Immigrant Who Started El Cerrito’s Favorite Christmas Tradition",
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"headTitle": "The Immigrant Who Started El Cerrito’s Favorite Christmas Tradition | KQED",
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"content": "\u003cp>Every December, El Cerrito is home to one of the country’s most impressive Christmas displays. Scores of handmade figurines — wise men, sheep, camels — populate a massive tableau of Bethlehem, on a site that’s ordinarily marked by the presence of large electrical towers and overgrown vegetation.\u003c/p>\n\u003cp>For the better part of a month, the display’s lights shine bright, while holiday music echoes from speakers buried beneath stuccoed sheep. Thousands visit the display each year, from all over the region, and though it has been hosted at this particular site only since 2002, the tradition is nearly 70 years old.\u003c/p>\n\u003cp>It takes dozens of volunteers — including a local Boy Scout troop and off-duty firefighters — to move the statues from a nearby facility up the hill and then painstakingly arrange them into a super-sized diorama, piece by piece.\u003c/p>\n\u003cfigure id=\"attachment_11639099\" class=\"wp-caption aligncenter\" style=\"max-width: 1723px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639099\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut.jpg\" alt=\"\" width=\"1723\" height=\"2535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut.jpg 1723w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-800x1177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-1020x1501.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-1180x1736.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-960x1412.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-240x353.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-375x552.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-520x765.jpg 520w\" sizes=\"(max-width: 1723px) 100vw, 1723px\">\u003cfigcaption class=\"wp-caption-text\">A wooden cutout of Sundar Shadi is a recent addition to the holiday display. It was inspired by a photo taken of him for a local newspaper. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A recent addition is a two-dimensional cutout of a man holding what appears to be a rake. It’s the late Sundar Shadi, the man who started it all.\u003c/p>\n\u003cp>“It’s an amazing thing he did,” said Jane Bartke, one of several former El Cerrito mayors who keep the project alive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bartke, who has lived in El Cerrito since 1963, was quick to point out that although the display features Christian imagery — most notably, the tablet inscribed with a passage from the Gospel of Luke — the display is not exclusively for those who celebrate Christmas.\u003c/p>\n\u003cfigure id=\"attachment_11639083\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639083\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The “smokers” sit around the fire and inhale a hookah. For perspective, Shadi crafted large figures, like the camels, to be placed closer to the viewer, and put smaller figures farther away. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We refer to it as a Bethlehem scene,” Bartke said. “There is no nativity. There will never be a nativity scene. He was not a Christian.”\u003c/p>\n\u003cp>That’s right. The man whose name is synonymous with Christmas in El Cerrito, Sundar Shadi, was not Christian. He was Sikh.\u003c/p>\n\u003cp>Shadi emigrated in 1921 from what’s now Pakistan to the United States to study horticulture at UC Berkeley. Eight years later, he earned a master’s degree in the same field, but he couldn’t find work in academia. Some say that was because of the color of his skin.\u003c/p>\n\u003cp>So he took a job at a gas station. Eventually, he saved up enough money to buy that gas station, and many others. He earned enough money to retire at 49.\u003c/p>\n\u003cp>But he never lost his passion for horticulture. He turned the empty lot next to his house into an elaborate garden. Then his wife, Dorothy, encouraged him to take up a new hobby.\u003c/p>\n\u003cfigure id=\"attachment_11639080\" class=\"wp-caption aligncenter\" style=\"max-width: 941px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut.jpg\" alt=\"\" width=\"941\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut.jpg 941w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-800x428.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-520x279.jpg 520w\" sizes=\"(max-width: 941px) 100vw, 941px\">\u003cfigcaption class=\"wp-caption-text\">Sundar Shadi and his wife, Dorothy, pose for a photo in front of their garden. The couple was forced to marry in Carson City, Nevada, because interracial marriages were banned in California at the time. \u003ccite>(Photo Courtesy of the Sundar Shadi Holiday Display Committee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was driving Dorothy crazy because he couldn’t be outside [tending his garden in the winter] so she said he should do something,” Bartke explained. “They debated putting a Santa Claus up or star, and they decided to put a star up on the hillside. And that’s how it all started.”\u003c/p>\n\u003cp>In 1949, Shadi built a large wooden star and put it in the lot adjacent to their house. Things escalated from there, and as the years went on, he built a whole city from milk cartons, shower curtains, plaster and chicken wire. Over the years, Shadi’s elaborate gardens and holiday display became the stuff of legend.\u003c/p>\n\u003cp>“He was known to me as ‘the man with the beautiful garden,’ ” said Zach Gillen, 42, who grew up in the area. During the school year, Gillen remembers eagerly looking out of the bus to see what Shadi had done with his garden. Then, around the holidays, he and his family would sometimes drive up the hill to see the neatly arranged Christmas scene.\u003c/p>\n\u003cp>“I remember people coming from all over to see it,” he said.\u003c/p>\n\u003cp>In 1984, Shadi told ABC News that it was all about bringing joy to his community.\u003c/p>\n\u003cp>“It inspires me when I see the people enjoying it, so I feel that maybe I’m doing some service to my community,” he said.\u003c/p>\n\u003cp>By the late ’90s, Shadi was no longer able to set up his own Christmas display, and for the first time in almost half a century, his statues spent the holiday season in storage. He died in 2002, just before his 102nd birthday.\u003c/p>\n\u003cfigure id=\"attachment_11639092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639092\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Though she has been replaced, the angel has been a staple of the display for decades. “He always had the angel. Sometimes she was pink, sometimes she was blue. I found out since that it was according to what shower curtains you could find,” said Jane Bartke, a former mayor of El Cerrito. Bartke played an essential role in making sure Shadi’s creation lived on. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But thanks to Jane and her husband, Rich Bartke — also a former El Cerrito mayor — Shadi’s legacy lives on. After his death, the Bartkes facilitated the acquisition of the statues from his family with the help of Soroptimist International.\u003c/p>\n\u003cp>Local firefighters helped move the hundreds of aged pieces to an empty warehouse, which was offered to them as storage by a local lumber company. Moving them is no easy task. “It takes four people to carry one of those camels,” Jane Bartke explained.\u003c/p>\n\u003cp>The Boy Scouts were enlisted to help restore the figurines. Then, PG&E agreed to lease the hillside below their tangle of power lines. The display was ready for revival.\u003c/p>\n\u003cp>\u003ca href=\"http://shadiholidaydisplay.com/\">The Sundar Shadi Holiday Display\u003c/a> been up every December since.\u003c/p>\n\u003cp>On a recent night, an ancestor of Shadi’s first blue star shone brightly over the rows of milk-carton houses and coffee-tin minarets. An angelic arrangement of “Silent Night” echoed, as families huddled close to take in Shadi’s display.\u003c/p>\n\u003cfigure id=\"attachment_11639093\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639093\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sundar Shadi originally used milk cartons to craft the tiny houses that make up the town of Bethlehem. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A young boy named Charlie Smith slips a donation into a box, something he does every year. His younger sister likes the camels, but his favorite is the star.\u003c/p>\n\u003cp>Volunteer docent Mae Ritz — who’s also a former mayor of El Cerrito — passes out candy canes and shares the story of the man and his creation with visitors.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“All if us work hard to make sure that this looks good,” says Ritz. “It just makes you feel good to see it happen and it makes you proud of El Cerrito and what we’re doing.”\u003c/p>\n\n",
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"excerpt": "Every December, a small army of volunteers recreate the late Sundar Shadi's massive tableau of Bethlehem.",
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"title": "The Immigrant Who Started El Cerrito’s Favorite Christmas Tradition | KQED",
"description": "Every December, a small army of volunteers recreate the late Sundar Shadi's massive tableau of Bethlehem.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every December, El Cerrito is home to one of the country’s most impressive Christmas displays. Scores of handmade figurines — wise men, sheep, camels — populate a massive tableau of Bethlehem, on a site that’s ordinarily marked by the presence of large electrical towers and overgrown vegetation.\u003c/p>\n\u003cp>For the better part of a month, the display’s lights shine bright, while holiday music echoes from speakers buried beneath stuccoed sheep. Thousands visit the display each year, from all over the region, and though it has been hosted at this particular site only since 2002, the tradition is nearly 70 years old.\u003c/p>\n\u003cp>It takes dozens of volunteers — including a local Boy Scout troop and off-duty firefighters — to move the statues from a nearby facility up the hill and then painstakingly arrange them into a super-sized diorama, piece by piece.\u003c/p>\n\u003cfigure id=\"attachment_11639099\" class=\"wp-caption aligncenter\" style=\"max-width: 1723px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639099\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut.jpg\" alt=\"\" width=\"1723\" height=\"2535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut.jpg 1723w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-800x1177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-1020x1501.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-1180x1736.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-960x1412.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-240x353.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-375x552.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28715_IMG_2439-qut-520x765.jpg 520w\" sizes=\"(max-width: 1723px) 100vw, 1723px\">\u003cfigcaption class=\"wp-caption-text\">A wooden cutout of Sundar Shadi is a recent addition to the holiday display. It was inspired by a photo taken of him for a local newspaper. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A recent addition is a two-dimensional cutout of a man holding what appears to be a rake. It’s the late Sundar Shadi, the man who started it all.\u003c/p>\n\u003cp>“It’s an amazing thing he did,” said Jane Bartke, one of several former El Cerrito mayors who keep the project alive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bartke, who has lived in El Cerrito since 1963, was quick to point out that although the display features Christian imagery — most notably, the tablet inscribed with a passage from the Gospel of Luke — the display is not exclusively for those who celebrate Christmas.\u003c/p>\n\u003cfigure id=\"attachment_11639083\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639083\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28723_IMG_2431-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The “smokers” sit around the fire and inhale a hookah. For perspective, Shadi crafted large figures, like the camels, to be placed closer to the viewer, and put smaller figures farther away. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We refer to it as a Bethlehem scene,” Bartke said. “There is no nativity. There will never be a nativity scene. He was not a Christian.”\u003c/p>\n\u003cp>That’s right. The man whose name is synonymous with Christmas in El Cerrito, Sundar Shadi, was not Christian. He was Sikh.\u003c/p>\n\u003cp>Shadi emigrated in 1921 from what’s now Pakistan to the United States to study horticulture at UC Berkeley. Eight years later, he earned a master’s degree in the same field, but he couldn’t find work in academia. Some say that was because of the color of his skin.\u003c/p>\n\u003cp>So he took a job at a gas station. Eventually, he saved up enough money to buy that gas station, and many others. He earned enough money to retire at 49.\u003c/p>\n\u003cp>But he never lost his passion for horticulture. He turned the empty lot next to his house into an elaborate garden. Then his wife, Dorothy, encouraged him to take up a new hobby.\u003c/p>\n\u003cfigure id=\"attachment_11639080\" class=\"wp-caption aligncenter\" style=\"max-width: 941px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut.jpg\" alt=\"\" width=\"941\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut.jpg 941w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-800x428.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28724_shadi-and-dorothy-qut-520x279.jpg 520w\" sizes=\"(max-width: 941px) 100vw, 941px\">\u003cfigcaption class=\"wp-caption-text\">Sundar Shadi and his wife, Dorothy, pose for a photo in front of their garden. The couple was forced to marry in Carson City, Nevada, because interracial marriages were banned in California at the time. \u003ccite>(Photo Courtesy of the Sundar Shadi Holiday Display Committee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was driving Dorothy crazy because he couldn’t be outside [tending his garden in the winter] so she said he should do something,” Bartke explained. “They debated putting a Santa Claus up or star, and they decided to put a star up on the hillside. And that’s how it all started.”\u003c/p>\n\u003cp>In 1949, Shadi built a large wooden star and put it in the lot adjacent to their house. Things escalated from there, and as the years went on, he built a whole city from milk cartons, shower curtains, plaster and chicken wire. Over the years, Shadi’s elaborate gardens and holiday display became the stuff of legend.\u003c/p>\n\u003cp>“He was known to me as ‘the man with the beautiful garden,’ ” said Zach Gillen, 42, who grew up in the area. During the school year, Gillen remembers eagerly looking out of the bus to see what Shadi had done with his garden. Then, around the holidays, he and his family would sometimes drive up the hill to see the neatly arranged Christmas scene.\u003c/p>\n\u003cp>“I remember people coming from all over to see it,” he said.\u003c/p>\n\u003cp>In 1984, Shadi told ABC News that it was all about bringing joy to his community.\u003c/p>\n\u003cp>“It inspires me when I see the people enjoying it, so I feel that maybe I’m doing some service to my community,” he said.\u003c/p>\n\u003cp>By the late ’90s, Shadi was no longer able to set up his own Christmas display, and for the first time in almost half a century, his statues spent the holiday season in storage. He died in 2002, just before his 102nd birthday.\u003c/p>\n\u003cfigure id=\"attachment_11639092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639092\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28717_IMG_2447-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Though she has been replaced, the angel has been a staple of the display for decades. “He always had the angel. Sometimes she was pink, sometimes she was blue. I found out since that it was according to what shower curtains you could find,” said Jane Bartke, a former mayor of El Cerrito. Bartke played an essential role in making sure Shadi’s creation lived on. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But thanks to Jane and her husband, Rich Bartke — also a former El Cerrito mayor — Shadi’s legacy lives on. After his death, the Bartkes facilitated the acquisition of the statues from his family with the help of Soroptimist International.\u003c/p>\n\u003cp>Local firefighters helped move the hundreds of aged pieces to an empty warehouse, which was offered to them as storage by a local lumber company. Moving them is no easy task. “It takes four people to carry one of those camels,” Jane Bartke explained.\u003c/p>\n\u003cp>The Boy Scouts were enlisted to help restore the figurines. Then, PG&E agreed to lease the hillside below their tangle of power lines. The display was ready for revival.\u003c/p>\n\u003cp>\u003ca href=\"http://shadiholidaydisplay.com/\">The Sundar Shadi Holiday Display\u003c/a> been up every December since.\u003c/p>\n\u003cp>On a recent night, an ancestor of Shadi’s first blue star shone brightly over the rows of milk-carton houses and coffee-tin minarets. An angelic arrangement of “Silent Night” echoed, as families huddled close to take in Shadi’s display.\u003c/p>\n\u003cfigure id=\"attachment_11639093\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11639093\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/12/RS28721_IMG_2413-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sundar Shadi originally used milk cartons to craft the tiny houses that make up the town of Bethlehem. \u003ccite>(Spencer Silva/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A young boy named Charlie Smith slips a donation into a box, something he does every year. His younger sister likes the camels, but his favorite is the star.\u003c/p>\n\u003cp>Volunteer docent Mae Ritz — who’s also a former mayor of El Cerrito — passes out candy canes and shares the story of the man and his creation with visitors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All if us work hard to make sure that this looks good,” says Ritz. “It just makes you feel good to see it happen and it makes you proud of El Cerrito and what we’re doing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"airtime": "SUN 7:30pm-8pm",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"live-from-here-highlights": {
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"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
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"meta": {
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"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 13
},
"link": "/podcasts/mindshift",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 12
},
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"link": "/radio/program/on-the-media",
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"our-body-politic": {
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"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/our-body-politic",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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},
"perspectives": {
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"officialWebsiteLink": "/perspectives/",
"meta": {
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"order": 15
},
"link": "/perspectives",
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"planet-money": {
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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