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Somehow we do it. Somehow we weathered and witnessed a nation that isn’t broken but simply unfinished.”\u003c/p>\n\u003cp>She acknowledged the power of her own presence on the stage, in “a country and a time where a skinny Black girl descended from slaves and raised by a single mother can dream of becoming president, only to find herself reciting for one.”\u003c/p>\n\u003cfigure id=\"attachment_11856186\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/01/Amanda-Gorman-2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-11856186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/01/Amanda-Gorman-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/01/Amanda-Gorman-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/01/Amanda-Gorman-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/01/Amanda-Gorman-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/01/Amanda-Gorman-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Gorman reads her poem ‘The Hill We Climb’ during the inauguration of President Joe Biden and Vice President Kamala Harris on Jan. 20, 2021, at the U.S. Capitol in Washington, D.C. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Obama inaugural poet Richard Blanco, who invoked the grand sweep of American geography in a call for unity in “One Today,” Gorman dedicated a portion to “every corner called our country,” from the South to the Midwest. She ended with an invitation to “step out of the shade.”\u003c/p>\n\u003cp>“The new dawn blooms as we free it,” she said. “For there is always light, if only we are brave enough to see it – if only we are brave enough to be it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gorman was following in the footsteps of poets like Blanco, Robert Frost and Maya Angelou as she composed the poem “The Hill We Climb” for the inauguration.\u003c/p>\n\u003cp>But she also took her cues from orators like Frederick Douglass, Abraham Lincoln and Martin Luther King Jr. — people who knew a thing or two about calling for hope and unity in times of despair and division.\u003c/p>\n\u003cp>Gorman told NPR she dug into the works of those speakers (and Winston Churchill, too) to study up on ways “rhetoric has been used for good.” Over the past few weeks she composed a poem that acknowledges the previous president’s incitement of violence, but turns toward hope.\u003c/p>\n\u003cp>“The Hill We Climb” reads, in part: \u003c/p>\n\u003cblockquote>\n\u003cp>We’ve seen a force that would shatter our nation rather than share it,\u003c/p>\n\u003cp>Would destroy our country if it meant delaying democracy.\u003c/p>\n\u003cp>And this effort very nearly succeeded.\u003c/p>\n\u003cp>But while democracy can be periodically delayed,\u003c/p>\n\u003cp>It can never be permanently defeated.\u003c/p>\n\u003cp>In this truth, in this faith, we trust. \u003c/p>\n\u003cp>For while we have our eyes on the future, \u003c/p>\n\u003cp>history has its eyes on us. \u003c/p>\n\u003c/blockquote>\n\u003cp>Gorman, like Biden, had a speech impediment as a child. (Biden had a stutter; Gorman had difficulty pronouncing certain sounds.) She told NPR’s Steve Inskeep that her speech impediment was one reason she was drawn to poetry at a young age. \u003c/p>\n\u003cp>“Having an arena in which I could express my thoughts freely was just so liberating that I fell head over heels, you know, when I was barely a toddler,” she said. \u003c/p>\n\u003cp>For Gorman, her struggle to speak provided a connection not only to the incoming president, but to previous inaugural poets, too.\u003c/p>\n\u003cp>“Maya Angelou was mute growing up as a child and she grew up to deliver the inaugural poem for President Bill Clinton,” she said. “So I think there is a real history of orators who have had to struggle with a type of imposed voicelessness, you know, having that stage in the inauguration.” \u003c/p>\n\u003cp>There have only been a handful of inaugural poets; Barack Obama, Bill Clinton and John F. Kennedy were the only presidents in the past who chose to have poems read at their inaugurations. You can read all the previous poems \u003ca href=\"https://lithub.com/read-every-presidential-inauguration-poem-ever-performed-there-are-fewer-than-you-think/\">here\u003c/a>. \u003c/p>\n\u003cp>\u003cem>Watch Amanda Gorman host a recent PBS Kids Talk episode on race and racism:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_fbQBKwdWPg\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Poet+Amanda+Gorman+Reads+%27The+Hill+We+Climb%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Amanda Gorman, a 22-year-old poet from Los Angeles, took to the stage on Wednesday, it was immediately clear why the new president had chosen her as his inaugural poet.\u003c/p>\n\u003cp>Gorman echoed, in dynamic and propulsive verse, the same themes that Biden has returned to again and again, and which he wove throughout his inaugural address: unity, healing, grief and hope, the painful history of American experience and the redemptive power of American ideals.\u003c/p>\n\u003cp>Where Biden said, “We must end this uncivil war,” Gorman declared, “We lay down our arms so we can reach out our arms to one another.”\u003c/p>\n\u003cp>And where Biden called for an American story of “love and healing” and “greatness and goodness,” Gorman saw strength in pain: “Even as we grieved, we grew,” she 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/LZ055ilIiN4'\n title='//www.youtube.com/embed/LZ055ilIiN4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gorman, the nation’s first National Youth Poet Laureate and by far the youngest poet who has read at a presidential inauguration, opened by acknowledging the reasons why hope can be challenging. \u003c/p>\n\u003cp>“Where can we find light in this never-ending shade?” she asked.\u003c/p>\n\u003cp>But she continued: “And yet, the dawn is ours before we knew it. Somehow we do it. Somehow we weathered and witnessed a nation that isn’t broken but simply unfinished.”\u003c/p>\n\u003cp>She acknowledged the power of her own presence on the stage, in “a country and a time where a skinny Black girl descended from slaves and raised by a single mother can dream of becoming president, only to find herself reciting for one.”\u003c/p>\n\u003cfigure id=\"attachment_11856186\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/01/Amanda-Gorman-2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-11856186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/01/Amanda-Gorman-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/01/Amanda-Gorman-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/01/Amanda-Gorman-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/01/Amanda-Gorman-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/01/Amanda-Gorman-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Gorman reads her poem ‘The Hill We Climb’ during the inauguration of President Joe Biden and Vice President Kamala Harris on Jan. 20, 2021, at the U.S. Capitol in Washington, D.C. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Obama inaugural poet Richard Blanco, who invoked the grand sweep of American geography in a call for unity in “One Today,” Gorman dedicated a portion to “every corner called our country,” from the South to the Midwest. She ended with an invitation to “step out of the shade.”\u003c/p>\n\u003cp>“The new dawn blooms as we free it,” she said. “For there is always light, if only we are brave enough to see it – if only we are brave enough to be it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gorman was following in the footsteps of poets like Blanco, Robert Frost and Maya Angelou as she composed the poem “The Hill We Climb” for the inauguration.\u003c/p>\n\u003cp>But she also took her cues from orators like Frederick Douglass, Abraham Lincoln and Martin Luther King Jr. — people who knew a thing or two about calling for hope and unity in times of despair and division.\u003c/p>\n\u003cp>Gorman told NPR she dug into the works of those speakers (and Winston Churchill, too) to study up on ways “rhetoric has been used for good.” Over the past few weeks she composed a poem that acknowledges the previous president’s incitement of violence, but turns toward hope.\u003c/p>\n\u003cp>“The Hill We Climb” reads, in part: \u003c/p>\n\u003cblockquote>\n\u003cp>We’ve seen a force that would shatter our nation rather than share it,\u003c/p>\n\u003cp>Would destroy our country if it meant delaying democracy.\u003c/p>\n\u003cp>And this effort very nearly succeeded.\u003c/p>\n\u003cp>But while democracy can be periodically delayed,\u003c/p>\n\u003cp>It can never be permanently defeated.\u003c/p>\n\u003cp>In this truth, in this faith, we trust. \u003c/p>\n\u003cp>For while we have our eyes on the future, \u003c/p>\n\u003cp>history has its eyes on us. \u003c/p>\n\u003c/blockquote>\n\u003cp>Gorman, like Biden, had a speech impediment as a child. (Biden had a stutter; Gorman had difficulty pronouncing certain sounds.) She told NPR’s Steve Inskeep that her speech impediment was one reason she was drawn to poetry at a young age. \u003c/p>\n\u003cp>“Having an arena in which I could express my thoughts freely was just so liberating that I fell head over heels, you know, when I was barely a toddler,” she said. \u003c/p>\n\u003cp>For Gorman, her struggle to speak provided a connection not only to the incoming president, but to previous inaugural poets, too.\u003c/p>\n\u003cp>“Maya Angelou was mute growing up as a child and she grew up to deliver the inaugural poem for President Bill Clinton,” she said. “So I think there is a real history of orators who have had to struggle with a type of imposed voicelessness, you know, having that stage in the inauguration.” \u003c/p>\n\u003cp>There have only been a handful of inaugural poets; Barack Obama, Bill Clinton and John F. Kennedy were the only presidents in the past who chose to have poems read at their inaugurations. You can read all the previous poems \u003ca href=\"https://lithub.com/read-every-presidential-inauguration-poem-ever-performed-there-are-fewer-than-you-think/\">here\u003c/a>. \u003c/p>\n\u003cp>\u003cem>Watch Amanda Gorman host a recent PBS Kids Talk episode on race and racism:\u003c/em>\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/_fbQBKwdWPg'\n title='//www.youtube.com/embed/_fbQBKwdWPg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Poet+Amanda+Gorman+Reads+%27The+Hill+We+Climb%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A group of homeless people who had taken over several empty, state-owned houses in Los Angeles was forcefully removed by California Highway Patrol officers hours later amid protests by dozens of community activists.\u003c/p>\n\u003cp>Members of Reclaim and Rebuild Our Community \u003ca href=\"https://www.youtube.com/watch?v=2Hy3HJTtrHo&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">said in a video message\u003c/a> to Gov. Gavin Newsom posted on YouTube on Wednesday that they had taken over several homes purchased by Caltrans for the now defunct 710 Freeway corridor expansion.\u003c/p>\n\u003cp>Roberto Flores, an organizer with the group, said that 20 families who are about to be evicted or are homeless and have been living in cars and encampments and are looking for somewhere to shelter in place during the pandemic took over the homes.[aside tag=\"moms-4-housing\" label=\"related coverage\"]\u003c/p>\n\u003cp>On Thursday, only Ganil Hernandez and her family remained in one of the houses.\u003c/p>\n\u003cp>“We’re taking back this home because we need to shelter in place and because housing is a human right,” Hernandez said.\u003c/p>\n\u003cp>Hernandez said she and her family have been unable to pay the $2,000 rent on their apartment after her partner lost his job. She said their landlord told them they will be evicted in December.\u003c/p>\n\u003cp>“We can not afford rent here in Los Angeles. We tried moving out of state but we couldn’t get a place there either. I’m doing what I can for my family,” Hernandez said.\u003c/p>\n\u003cp>A large group of CHP officers in at least 50 vehicles arrived at the El Sereno neighborhood Wednesday night and began forcibly removing people from about two dozen homes, said Ruby Gordillo, who lives in the neighborhood and is a housing activist with Reclaiming Our Homes.\u003c/p>\n\u003cp>https://twitter.com/ReporterClaudia/status/1332243211788554242\u003c/p>\n\u003cp>Gordillo was among a group of mothers who took over a vacant home in the neighborhood in March, inspired by Moms 4 Housing in Oakland that highlighted the state’s severe housing shortage last year.\u003c/p>\n\u003cp>The group of mothers in Oakland took over a vacant house in November 2019. They were evicted in January but a week later it was announced the women planned to move back to the house after speculators agreed to sell the property to a nonprofit organization. [ad fullwidth]\u003c/p>\n\u003cp>A group of activists that came to support the families confronted the officers and at least three people were detained by officers in full tactical gear as demonstrators urged officers to stop, the television station KNBC-TV reported.\u003c/p>\n\u003cp>https://twitter.com/josie_huang/status/1332225086871326720\u003c/p>\n\u003cp>The CHP did not immediately respond Thursday to a request for comment from The Associated Press.\u003c/p>\n\u003cp>Caltrans officials said in a statement the Los Angeles homes the group broke into Wednesday are unsafe and uninhabitable for occupants.\u003c/p>\n\u003cp>“As such, Caltrans requested the CHP remove trespassers so that the properties can be re-secured and boarded up,” they said.\u003c/p>\n\u003cp>The agency said it has been working with local governments to lease several of its available properties for use as temporary emergency shelters. It recently signed a lease with the Housing Authority of the City of Los Angeles so that 22 vacant Caltrans-owned homes in El Sereno can be used for the city’s transitional housing program.\u003c/p>\n\u003cp>Gordillo said those homes are now legally housing families who are a part of Reclaiming Our Homes.\u003c/p>\n\u003cp>\u003cem>Olga R. Rodriguez reported from San Francisco.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>How do sounds capture a neighborhood? What does it mean when local residents archive their own local soundscape?\u003c/p>\n\u003cp>Those are the driving questions behind a new project in the East Los Angeles neighborhood of Boyle Heights. The \u003ca href=\"https://actaonline.org/program/sounds-of-california/\">Alliance for California Traditional Arts\u003c/a> has commissioned 10 original songs from local artists, focused on themes of anti-displacement and belonging, along with stories about the immigrant experience.\u003c/p>\n\u003cp>Grammy Award-winning musician and ACTA program manager \u003ca href=\"https://www.youtube.com/watch?v=uu5laJPLn7g\">Quetzal Flores\u003c/a> has been helping to curate the project.\u003c/p>\n\u003cp>\u003ca href=\"https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\">The California Report Magazine\u003c/a> host Sasha Khokha sat down with Flores to talk about the project, and how it focuses on immigrant narratives and culture. This interview has been edited for length and clarity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q4Xj0hcpRD0\u003c/p>\n\u003ch3>On Boyle Heights, a Community of Immigrants\u003c/h3>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Quetzal Flores\"]‘When you put the narrative in the hands of artists, they tell beautiful, powerful stories of deep connection, deep history, and resilience.’[/pullquote]\u003c/p>\n\u003cp>Boyle Heights has been a community of immigrants since its inception.\u003c/p>\n\u003cp>There were communities that could not live anywhere besides Boyle Heights, Compton or other parts of the city that were designated [for immigrants and BIPOC people] through redlining policies. We look at how the economic powers within the city of Los Angeles are positioning themselves to to gentrify Boyle Heights, to displace people, to prey on economic opportunity in the place that has been their sanctuary.\u003c/p>\n\u003cp>There’s a history of defiance, resistance to power and to the oppressive tactics of capitalism, patriarchy and white supremacy.\u003c/p>\n\u003cfigure id=\"attachment_11848070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11848070\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-800x417.jpg\" alt=\"\" width=\"800\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-1020x532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-1536x801.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of anti-eviction protesters in downtown LA. \u003ccite>(Courtesy of Eva Garcia/ACTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On Cross-Cultural Neighborhood Connections\u003c/h3>\n\u003cp>There’s a great story that I was told by a friend: an Eastern European woman would walk by my friend’s house every day [when she was little].\u003c/p>\n\u003cp>One day she stopped and said, ‘Hey, little girl. Come here. What’s that smell? I pass by your house every day and that smell reels me in.’\u003c/p>\n\u003cp>The little girl says, ‘My mom is making tortillas.’ So she brought her a tortilla with some butter on it. And the woman said, ‘This is incredible. Can we exchange? I make sour cream. I will bring you a batch of sour cream every week and you give me tortillas and we’ll exchange.’\u003c/p>\n\u003cp>These two women became best friends and were connected for the rest of their lives.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dY4X616IbT4&\u003c/p>\n\u003ch3>On Reclaiming Boyle Heights’ Narrative\u003c/h3>\n\u003cp>Eddika Organista’s song “Their Landing” chronicles her family’s migration story from Tijuana to Boyle Heights — the story of many people living in Boyle Heights. Eddika told the personal story of her parents arriving from Tijuana, being homeless in the city and finding home in Boyle Heights.\u003c/p>\n\u003cp>When artist Nobuko Miyamoto was a young girl, she and her family were incarcerated by the United States government. Coming out of camp they landed in Boyle Heights. Miyamoto sings about seeing her mother restitch their lives back together, and healing from the trauma of being forcibly removed and incarcerated.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yqvIyATWcp8\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Nobuko Miyamoto\"]‘Boyle Heights was a refuge for many Japanese Americans returning from World War II concentration camps. We found color, a taste for food and music and life that been stolen from us.’[/pullquote]\u003c/p>\n\u003cp>Miyamoto became a trained dancer who landed in Broadway and landed a part also in “West Side Story.” During that period she was very active in the movement for Asian American rights, so she’s been a deeply rooted activist and performer for many years.\u003c/p>\n\u003cp>Miyamoto is also a community elder, and she holds a very important perspective. The cross-generational dialogue within these compositions is key.\u003c/p>\n\u003ch3>On Blending Genres and Languages\u003c/h3>\n\u003cp>Angelica Mata’s song, “Mariachi Plaza” is a song in the collection that is bilingual, both in English and Spanish, and it also blends different genres of music.\u003c/p>\n\u003cp>Angelica is the child of two prominent mariachis in Los Angeles. In “Mariachi Plaza” she blends a lush ballad-like introduction into a mariachi piece with fervor and intensity and pride that mariachi elicits.\u003c/p>\n\u003cp>Angelica’s main tradition is mariachi music, but she’s a lover of all genres of music. She loves Brazilian music. She loves jazz. And lyrically, she loves her neighborhood.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sF8CHTptaBo\u003c/p>\n\u003cp>Oftentimes, what happens in the process of gentrifying a community, there’s an erasure of culture and the people.\u003c/p>\n\u003cp>To center the culture and the people is a way of reaffirming our existence — it’s the mirror that people can look at and say to themselves, ‘I matter. I have value. My value is not determined by how much money I make, but the deep connections I have to people in this neighborhood and the sounds that remind me I belong here.’\u003c/p>\n\u003cp>\u003cem>The Sounds of California project will launch a website in the Spring, where listeners can access sounds from many vibrant communities across the state.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Boyle Heights has been a community of immigrants since its inception.\u003c/p>\n\u003cp>There were communities that could not live anywhere besides Boyle Heights, Compton or other parts of the city that were designated [for immigrants and BIPOC people] through redlining policies. We look at how the economic powers within the city of Los Angeles are positioning themselves to to gentrify Boyle Heights, to displace people, to prey on economic opportunity in the place that has been their sanctuary.\u003c/p>\n\u003cp>There’s a history of defiance, resistance to power and to the oppressive tactics of capitalism, patriarchy and white supremacy.\u003c/p>\n\u003cfigure id=\"attachment_11848070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11848070\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-800x417.jpg\" alt=\"\" width=\"800\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-1020x532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-1536x801.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of anti-eviction protesters in downtown LA. \u003ccite>(Courtesy of Eva Garcia/ACTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On Cross-Cultural Neighborhood Connections\u003c/h3>\n\u003cp>There’s a great story that I was told by a friend: an Eastern European woman would walk by my friend’s house every day [when she was little].\u003c/p>\n\u003cp>One day she stopped and said, ‘Hey, little girl. Come here. What’s that smell? I pass by your house every day and that smell reels me in.’\u003c/p>\n\u003cp>The little girl says, ‘My mom is making tortillas.’ So she brought her a tortilla with some butter on it. And the woman said, ‘This is incredible. Can we exchange? I make sour cream. I will bring you a batch of sour cream every week and you give me tortillas and we’ll exchange.’\u003c/p>\n\u003cp>These two women became best friends and were connected for the rest of their lives.\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/dY4X616IbT4'\n title='//www.youtube.com/embed/dY4X616IbT4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>On Reclaiming Boyle Heights’ Narrative\u003c/h3>\n\u003cp>Eddika Organista’s song “Their Landing” chronicles her family’s migration story from Tijuana to Boyle Heights — the story of many people living in Boyle Heights. Eddika told the personal story of her parents arriving from Tijuana, being homeless in the city and finding home in Boyle Heights.\u003c/p>\n\u003cp>When artist Nobuko Miyamoto was a young girl, she and her family were incarcerated by the United States government. Coming out of camp they landed in Boyle Heights. Miyamoto sings about seeing her mother restitch their lives back together, and healing from the trauma of being forcibly removed and incarcerated.\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/yqvIyATWcp8'\n title='//www.youtube.com/embed/yqvIyATWcp8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "‘Boyle Heights was a refuge for many Japanese Americans returning from World War II concentration camps. We found color, a taste for food and music and life that been stolen from us.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miyamoto became a trained dancer who landed in Broadway and landed a part also in “West Side Story.” During that period she was very active in the movement for Asian American rights, so she’s been a deeply rooted activist and performer for many years.\u003c/p>\n\u003cp>Miyamoto is also a community elder, and she holds a very important perspective. The cross-generational dialogue within these compositions is key.\u003c/p>\n\u003ch3>On Blending Genres and Languages\u003c/h3>\n\u003cp>Angelica Mata’s song, “Mariachi Plaza” is a song in the collection that is bilingual, both in English and Spanish, and it also blends different genres of music.\u003c/p>\n\u003cp>Angelica is the child of two prominent mariachis in Los Angeles. In “Mariachi Plaza” she blends a lush ballad-like introduction into a mariachi piece with fervor and intensity and pride that mariachi elicits.\u003c/p>\n\u003cp>Angelica’s main tradition is mariachi music, but she’s a lover of all genres of music. She loves Brazilian music. She loves jazz. And lyrically, she loves her neighborhood.\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/sF8CHTptaBo'\n title='//www.youtube.com/embed/sF8CHTptaBo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Oftentimes, what happens in the process of gentrifying a community, there’s an erasure of culture and the people.\u003c/p>\n\u003cp>To center the culture and the people is a way of reaffirming our existence — it’s the mirror that people can look at and say to themselves, ‘I matter. I have value. My value is not determined by how much money I make, but the deep connections I have to people in this neighborhood and the sounds that remind me I belong here.’\u003c/p>\n\u003cp>\u003cem>The Sounds of California project will launch a website in the Spring, where listeners can access sounds from many vibrant communities across the state.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“\u003ca href=\"https://laist.com/podcasts/california-love.php\">California Love\u003c/a>,” a new podcast released last month by \u003ca href=\"https://www.laiststudios.com/\">LAist Studios\u003c/a>, is an audio memoir from writer Walter Thompson-Hernández about growing up in Los Angeles — and coming back. He left L.A. and became a New York Times writer, traveling the world, writing about race, identity and belonging. Thompson-Hernández joined \u003ca href=\"https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\">The California Report Magazine\u003c/a> host Sasha Khokha from his home in Los Angeles to talk about this “love letter” to L.A.\u003c/p>\n\u003cp>\u003cem>This conversation has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kca8Bjj7MQo\u003c/p>\n\u003ch2>\u003cstrong>On L.A. as a Lens to Explore Belonging\u003c/strong>\u003c/h2>\n\u003cp>I’ve always asked questions about what it means to belong. As a child of a Black father and a Mexican mother, I’ve been in this space where I have questions about identity. I have questions about race, questions about the environments I grew up in. As a \u003ca href=\"http://www.wthdz.com/\">New York Times writer\u003c/a>, I was really interested in asking people who belong to different subcultures similar questions, asking people what it means to both belong and not belong. But eventually, I had this yearning to come back home and learn more about myself at home, about my family, my mom and also about the city of L.A.\u003c/p>\n\u003ch2>\u003cstrong>On Blurring the Lines Between Journalism and Memoir\u003c/strong>\u003c/h2>\n\u003cp>This is my first time working in the podcast space. So for me as a journalist, the lens has sort of always been on someone else or a community around the world. It was such a new experience for me to really center my own experience as both a narrator and as a subject. I really had to confront a lot of things in my own life. I had to ask myself questions about what it meant to grow up in L.A. in a certain time. It’s both a piece of art, but it’s also an experience that really combines a lot of elements of sound and sound design and journalism. It also feels like an audio memoir at the same time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the one hand, as a journalist, it was this investigation into a certain time period in my life that was really formative for me as a teenager. I was reconnecting with old friends and even an old nemesis. On the other hand it was a really tough experience because it really forced me to to confront a certain time period in my life that was relatively traumatic. It was really important for me to reckon with the past and make sense of a time that was really formative in my own life.\u003c/p>\n\u003cfigure id=\"attachment_11833415\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11833415 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1472x1472.jpg 1472w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1104x1104.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-470x470.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork for “California Love” by Théo Lambert\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>On Why Thompson-Hernández’s Story is Also the Story of L.A.\u003c/strong>\u003c/h2>\n\u003cp>My story, in terms of how I identify as both a Black and brown person in L.A. who grew up in the ’90s, I hadn’t really seen the stories that we’ve presented in this show. I’ve never seen a story about graffiti told from the experience of someone who was both a graffiti artist and also someone who can document it. Or about the party line that all us teenagers used to call growing up. Or about the Compton Cowboys in this way.\u003c/p>\n\u003cp>I think oftentimes people who come to L.A. to tell stories are transplants, and tell stories about the city that to me feel really voyeuristic. People are just parachuting into a city that I love and respect so much and extracting information and knowledge from communities of color. I think for me, as a person of color, it’s very important to create something that really resonated with the people who I love the most — my friends and my family.\u003c/p>\n\u003cp>I think it’s really cool that when you hear my show, you really don’t hear a sort of traditional podcasting voice. I sound like someone who everyone knows. I sound like someone’s cousin, someone’s neighbor. That was a goal. I think we succeeded because of that.\u003c/p>\n\u003ch2>\u003cstrong>On Making an Episode About the ‘P Line,’ an Anonymous Phone Chat Room Frequented by Youth in the ’90s\u003c/strong>\u003c/h2>\n\u003cp>The P Line was one of the early forms of communication [for us], predating social media and Instagram and Facebook and Twitter. The P Line was a place where we could go to escape. People who could become someone else and lead this double life.\u003c/p>\n\u003cp>It was essentially a safe space. Growing up in L.A. at that time, there was a lot of gang violence in the streets, a lot of turmoil and tension. For a lot of us, it was either being in the streets or being at home on the P Line. And a lot of us chose the P Line.\u003c/p>\n\u003cfigure id=\"attachment_11833458\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11833458 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-1472x1472.jpg 1472w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-1104x1104.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-470x470.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork for ‘California Love’ by Théo Lambert.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>On Making an Episode About his Mom, Eleuteria Hernandez, Who Migrated From Mexico to the U.S. as a Teenager\u003c/strong>\u003c/h2>\n\u003cp>Oftentimes, we only know our parents as our parents. We forget that before us, they had these rich lives. I really wanted her to talk about her migration experience and what that meant for her. These were questions she and I have never really discussed. There’s oftentimes fear for folks who migrate here, like a culture of silence. Speaking about the process of migration or leaving home can really lift up old traumas. I’m really grateful that she was able to to open up to me in a way that was really honest.\u003c/p>\n\u003cfigure id=\"attachment_11833421\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11833421 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-1472x1472.jpg 1472w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-1104x1104.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-470x470.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Walter’s mom, Eleuteria Hernandez, is featured in one of the podcast episodes. Artwork by Théo Lambert \u003ccite>(Artwork by Théo Lambert.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My mom’s relationship to me was really interesting because she had me when she was about 21. She was a junior at UCLA. I really felt like both of us sort of grew up at the same time. She was a mom. She was a sister. She was a friend. She was a mentor. She was a father. She was so many different things to me.\u003c/p>\n\u003cp>It was really important to remember how I started writing, what inspired me. The books that I read were essentially her books. For a young boy to see that and to experience her grad school life at such a young age, it normalized that experience for me. It really let me know that women of color and people of color can be in grad school and can get Ph.D.s.\u003c/p>\n\u003ch2>\u003cstrong>On the “Compton Cowboys” Episode, and Exploring the History of L.A.’s Black Cowboys\u003c/strong>\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.comptoncowboys.com/\">Compton Cowboys\u003c/a> are a group of 10 childhood friends who ride horses in a horse ranch in Compton called the Richland Farms. They have a really special story. I grew up about five minutes away from Compton. But I didn’t grow up with the images of Black men and women on horses until I saw them riding around in Compton.\u003c/p>\n\u003cfigure id=\"attachment_11833376\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11833376 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/untitled-223-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/untitled-223-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/untitled-223-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/untitled-223-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/untitled-223-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/untitled-223-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony, one of the riders from the Richland Farms, showing his horse to young students in Compton. \u003ccite>(Courtesy of Walter Thompson-Hernández)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think on the surface, we see Black men and women on horses and we imagine that they ride horses for love and for practice and very competitive reasons. Those are all true. There’s also something deeper. Black men and women in Compton often have to ride horses to stay alive, to not get policed, to not experience discrimination by Compton’s police department. Part of that is really creative and beautiful. But also it’s kind of tragic. Trying to understand that in the context of this larger Black Lives Matter movement is really important for me. It lets me know that over time and space, Black folks have had to find creative ways to survive. And in Compton, Black folks often have to ride horses to do that.\u003c/p>\n\u003ch2>\u003cstrong>On How He Hopes “California Love” Will Resonate for People Outside L.A.\u003c/strong>\u003c/h2>\n\u003cp>I’m really hoping that a show like “California Love” can unpack a lot of the stereotypes and tropes about a city like L.A. — palm trees and Hollywood and the beaches. All those sorts of areas exist. But there [are] so many layers. And my version of L.A. is mostly people of color. And it’s folks who have immigrated to this country. It’s Black folks who have been in L.A. for four to three generations now, who have also been displaced. This show for me was really a love letter to both my friends and family who have chose to stay in L.A. despite gentrification, despite the increase in housing costs. It was also for a lot of my friends or family who have been forced out of L.A., forced out of their homes and communities. There is a lot of nostalgia in this show and there’s also a lot of grief and sadness — and joy. I’m hoping that people can experience all of that in a way that’s both hyper-specific to L.A., but also universal.\u003c/p>\n\u003ch2>\u003cstrong> On What He Loves Most About L.A.\u003c/strong>\u003c/h2>\n\u003cp>To me, L.A. is this crash site for so many different worlds and experiences and languages and cultures. If you grew up in L.A., you’ve essentially grown up in it in a really global city. So to me, living and understanding L.A. is really a way of understanding the world.\u003c/p>\n\u003cp>There’s a lot of hope for folks in my generation. A lot of us have lived outside of L.A., [or] traveled a bit. A lot of us are bent on coming back home and preserving the community experience that we all had growing up. I’m hoping this show can inspire us to keep on doing that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To hear more about “California Love” tune in for an Instagram live on Thursday, Aug. 20 at 3:30 p.m. with Walter Thompson-Hernández and Tonya Mosely, host of the KQED podcast “Truth Be Told.” Check out the event page \u003ca href=\"https://www.kqed.org/events/116679659001\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“\u003ca href=\"https://laist.com/podcasts/california-love.php\">California Love\u003c/a>,” a new podcast released last month by \u003ca href=\"https://www.laiststudios.com/\">LAist Studios\u003c/a>, is an audio memoir from writer Walter Thompson-Hernández about growing up in Los Angeles — and coming back. He left L.A. and became a New York Times writer, traveling the world, writing about race, identity and belonging. Thompson-Hernández joined \u003ca href=\"https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\">The California Report Magazine\u003c/a> host Sasha Khokha from his home in Los Angeles to talk about this “love letter” to L.A.\u003c/p>\n\u003cp>\u003cem>This conversation has been edited for brevity and clarity.\u003c/em>\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/kca8Bjj7MQo'\n title='//www.youtube.com/embed/kca8Bjj7MQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>On L.A. as a Lens to Explore Belonging\u003c/strong>\u003c/h2>\n\u003cp>I’ve always asked questions about what it means to belong. As a child of a Black father and a Mexican mother, I’ve been in this space where I have questions about identity. I have questions about race, questions about the environments I grew up in. As a \u003ca href=\"http://www.wthdz.com/\">New York Times writer\u003c/a>, I was really interested in asking people who belong to different subcultures similar questions, asking people what it means to both belong and not belong. But eventually, I had this yearning to come back home and learn more about myself at home, about my family, my mom and also about the city of L.A.\u003c/p>\n\u003ch2>\u003cstrong>On Blurring the Lines Between Journalism and Memoir\u003c/strong>\u003c/h2>\n\u003cp>This is my first time working in the podcast space. So for me as a journalist, the lens has sort of always been on someone else or a community around the world. It was such a new experience for me to really center my own experience as both a narrator and as a subject. I really had to confront a lot of things in my own life. I had to ask myself questions about what it meant to grow up in L.A. in a certain time. It’s both a piece of art, but it’s also an experience that really combines a lot of elements of sound and sound design and journalism. It also feels like an audio memoir at the same time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the one hand, as a journalist, it was this investigation into a certain time period in my life that was really formative for me as a teenager. I was reconnecting with old friends and even an old nemesis. On the other hand it was a really tough experience because it really forced me to to confront a certain time period in my life that was relatively traumatic. It was really important for me to reckon with the past and make sense of a time that was really formative in my own life.\u003c/p>\n\u003cfigure id=\"attachment_11833415\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11833415 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1472x1472.jpg 1472w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1104x1104.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-470x470.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44338_Main-Tile-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork for “California Love” by Théo Lambert\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>On Why Thompson-Hernández’s Story is Also the Story of L.A.\u003c/strong>\u003c/h2>\n\u003cp>My story, in terms of how I identify as both a Black and brown person in L.A. who grew up in the ’90s, I hadn’t really seen the stories that we’ve presented in this show. I’ve never seen a story about graffiti told from the experience of someone who was both a graffiti artist and also someone who can document it. Or about the party line that all us teenagers used to call growing up. Or about the Compton Cowboys in this way.\u003c/p>\n\u003cp>I think oftentimes people who come to L.A. to tell stories are transplants, and tell stories about the city that to me feel really voyeuristic. People are just parachuting into a city that I love and respect so much and extracting information and knowledge from communities of color. I think for me, as a person of color, it’s very important to create something that really resonated with the people who I love the most — my friends and my family.\u003c/p>\n\u003cp>I think it’s really cool that when you hear my show, you really don’t hear a sort of traditional podcasting voice. I sound like someone who everyone knows. I sound like someone’s cousin, someone’s neighbor. That was a goal. I think we succeeded because of that.\u003c/p>\n\u003ch2>\u003cstrong>On Making an Episode About the ‘P Line,’ an Anonymous Phone Chat Room Frequented by Youth in the ’90s\u003c/strong>\u003c/h2>\n\u003cp>The P Line was one of the early forms of communication [for us], predating social media and Instagram and Facebook and Twitter. The P Line was a place where we could go to escape. People who could become someone else and lead this double life.\u003c/p>\n\u003cp>It was essentially a safe space. Growing up in L.A. at that time, there was a lot of gang violence in the streets, a lot of turmoil and tension. For a lot of us, it was either being in the streets or being at home on the P Line. And a lot of us chose the P Line.\u003c/p>\n\u003cfigure id=\"attachment_11833458\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11833458 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-1472x1472.jpg 1472w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-1104x1104.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline-470x470.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/Pline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork for ‘California Love’ by Théo Lambert.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>On Making an Episode About his Mom, Eleuteria Hernandez, Who Migrated From Mexico to the U.S. as a Teenager\u003c/strong>\u003c/h2>\n\u003cp>Oftentimes, we only know our parents as our parents. We forget that before us, they had these rich lives. I really wanted her to talk about her migration experience and what that meant for her. These were questions she and I have never really discussed. There’s oftentimes fear for folks who migrate here, like a culture of silence. Speaking about the process of migration or leaving home can really lift up old traumas. I’m really grateful that she was able to to open up to me in a way that was really honest.\u003c/p>\n\u003cfigure id=\"attachment_11833421\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11833421 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-1472x1472.jpg 1472w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-1104x1104.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut-470x470.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/RS44394_Ellie-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Walter’s mom, Eleuteria Hernandez, is featured in one of the podcast episodes. Artwork by Théo Lambert \u003ccite>(Artwork by Théo Lambert.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My mom’s relationship to me was really interesting because she had me when she was about 21. She was a junior at UCLA. I really felt like both of us sort of grew up at the same time. She was a mom. She was a sister. She was a friend. She was a mentor. She was a father. She was so many different things to me.\u003c/p>\n\u003cp>It was really important to remember how I started writing, what inspired me. The books that I read were essentially her books. For a young boy to see that and to experience her grad school life at such a young age, it normalized that experience for me. It really let me know that women of color and people of color can be in grad school and can get Ph.D.s.\u003c/p>\n\u003ch2>\u003cstrong>On the “Compton Cowboys” Episode, and Exploring the History of L.A.’s Black Cowboys\u003c/strong>\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.comptoncowboys.com/\">Compton Cowboys\u003c/a> are a group of 10 childhood friends who ride horses in a horse ranch in Compton called the Richland Farms. They have a really special story. I grew up about five minutes away from Compton. But I didn’t grow up with the images of Black men and women on horses until I saw them riding around in Compton.\u003c/p>\n\u003cfigure id=\"attachment_11833376\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11833376 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/untitled-223-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/untitled-223-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/untitled-223-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/untitled-223-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/untitled-223-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/08/untitled-223-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony, one of the riders from the Richland Farms, showing his horse to young students in Compton. \u003ccite>(Courtesy of Walter Thompson-Hernández)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think on the surface, we see Black men and women on horses and we imagine that they ride horses for love and for practice and very competitive reasons. Those are all true. There’s also something deeper. Black men and women in Compton often have to ride horses to stay alive, to not get policed, to not experience discrimination by Compton’s police department. Part of that is really creative and beautiful. But also it’s kind of tragic. Trying to understand that in the context of this larger Black Lives Matter movement is really important for me. It lets me know that over time and space, Black folks have had to find creative ways to survive. And in Compton, Black folks often have to ride horses to do that.\u003c/p>\n\u003ch2>\u003cstrong>On How He Hopes “California Love” Will Resonate for People Outside L.A.\u003c/strong>\u003c/h2>\n\u003cp>I’m really hoping that a show like “California Love” can unpack a lot of the stereotypes and tropes about a city like L.A. — palm trees and Hollywood and the beaches. All those sorts of areas exist. But there [are] so many layers. And my version of L.A. is mostly people of color. And it’s folks who have immigrated to this country. It’s Black folks who have been in L.A. for four to three generations now, who have also been displaced. This show for me was really a love letter to both my friends and family who have chose to stay in L.A. despite gentrification, despite the increase in housing costs. It was also for a lot of my friends or family who have been forced out of L.A., forced out of their homes and communities. There is a lot of nostalgia in this show and there’s also a lot of grief and sadness — and joy. I’m hoping that people can experience all of that in a way that’s both hyper-specific to L.A., but also universal.\u003c/p>\n\u003ch2>\u003cstrong> On What He Loves Most About L.A.\u003c/strong>\u003c/h2>\n\u003cp>To me, L.A. is this crash site for so many different worlds and experiences and languages and cultures. If you grew up in L.A., you’ve essentially grown up in it in a really global city. So to me, living and understanding L.A. is really a way of understanding the world.\u003c/p>\n\u003cp>There’s a lot of hope for folks in my generation. A lot of us have lived outside of L.A., [or] traveled a bit. A lot of us are bent on coming back home and preserving the community experience that we all had growing up. I’m hoping this show can inspire us to keep on doing that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To hear more about “California Love” tune in for an Instagram live on Thursday, Aug. 20 at 3:30 p.m. with Walter Thompson-Hernández and Tonya Mosely, host of the KQED podcast “Truth Be Told.” Check out the event page \u003ca href=\"https://www.kqed.org/events/116679659001\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Some Parents Skip Meals to Feed Their Children, but Who Will Feed the Adults? One Organization Has an Answer",
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"content": "\u003cp>Prior to the stay-at-home order, Diosmery Durán said she and her family were doing fine, supported by her husband’s handyman business. But when the pandemic hit, he lost nearly all his work overnight, and the family income disappeared. After paying the rent, utilities, cable and phone bills, there was little left.\u003c/p>\n\u003cp>The only thing Durán could skimp on was food.\u003c/p>\n\u003cp>She and her husband began getting up early to wait in the ever-increasing lines at local food pantries and schools for groceries. [pullquote]‘If I don’t eat sometimes it doesn’t matter because when you have kids you always think about them.”[/pullquote]\u003c/p>\n\u003cp>“I just went, sometimes at six in the morning,” Durán said. Standing in lines for food has become a daily full-time job for \u003ca href=\"https://www.latimes.com/california/story/2020-05-09/as-demand-for-food-skyrockets-due-to-coronavirus-food-banks-play-catch-up\" target=\"_blank\" rel=\"noopener noreferrer\">many families\u003c/a> in South Los Angeles.\u003c/p>\n\u003cp>“If I don’t eat sometimes, it doesn’t matter because when you have kids you always think about them,” Durán said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Across California, 43% of all Latinx parents said they were forgoing some part of the family meal, according to new data from the \u003ca href=\"https://west.edtrust.org/california-parent-poll-covid-19-and-early-childhood/\" target=\"_blank\" rel=\"noopener noreferrer\">Education Trust-West\u003c/a>. Diosmery Durán is one of them.\u003c/p>\n\u003cp>She’s not alone: The \u003ca href=\"https://west.edtrust.org/california-parent-poll-covid-19-and-early-childhood/\" target=\"_blank\" rel=\"noopener noreferrer\">Education Trust-West\u003c/a>‘s statewide survey reached 600 families with children under 5 years old, painting a dire picture.\u003c/p>\n\u003cfigure id=\"attachment_11818925\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11818925\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/05/RS43229_IMG_0898-qut.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43229_IMG_0898-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43229_IMG_0898-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43229_IMG_0898-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43229_IMG_0898-qut-536x402.jpg 536w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Families wait in line for food at Soledad Enrichment Action Resource Center in South Central Los Angeles. Food is given out on a first-come, first-serve basis twice a week between 9 a.m. and noon. In recent weeks, the line starts at 6 a.m., according to Diosmery Durán, mother of two who waits in the line. \u003ccite>(Courtesy of Diosmery Duran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pandemic has laid bare contradictions in the country’s food system. As farmers report \u003ca href=\"https://www.politico.com/news/2020/04/26/food-banks-coronavirus-agriculture-usda-207215\" target=\"_blank\" rel=\"noopener noreferrer\">rotting crops\u003c/a> and \u003ca href=\"https://www.nytimes.com/2020/04/11/business/coronavirus-destroying-food.html\" target=\"_blank\" rel=\"noopener noreferrer\">dumping milk\u003c/a>, hunger is growing. A \u003ca href=\"https://www.brookings.edu/blog/up-front/2020/05/06/the-covid-19-crisis-has-already-left-too-many-children-hungry-in-america/\" target=\"_blank\" rel=\"noopener noreferrer\">Brookings Institution analysis\u003c/a> found nationwide nearly one in five families with children under 12 are experiencing food insecurity. California parents are also struggling to feed their families, and food banks are seeing demand dramatically increase.\u003c/p>\n\u003cp>“Parents are struggling with basic needs,” said Elisha Smith Arrillaga, executive director of the Education Trust-West.\u003c/p>\n\u003cp>Each day, Durán or her husband wait in the various lines where food is distributed. She communicates constantly with other mothers to find out which location is giving out milk, diapers or other goods. And she often shares whatever the family gets.\u003c/p>\n\u003cp>“We all just try to help each other,” Durán said.\u003c/p>\n\u003cp>Durán realized she needed help applying for government food assistance through CalFresh. While waiting in a food pantry line she heard that a local organization, Community Services Unlimited (CSU), was providing assistance with applications, so she called. CSU has seen a nine-fold increase in calls for CalFresh application assistance since the COVID-19 pandemic struck.\u003c/p>\n\u003cp>While food pantries, nonprofit groups, churches and schools have become hubs for hungry families to receive food, Community Services Unlimited believes there is a better way to solve hunger issues. Heather Fenney, co-executive director of the organization said they are working to create more empowered food communities.\u003c/p>\n\u003cp>“At a time like this, the need for our communities to have greater self-sufficiency around food is really critical,” Fenney said.\u003c/p>\n\u003cp>The organization was originally founded as part of the Southern California Chapter of the Black Panther Party in 1977. They work to upend the injustices of a food system steeped in charity with poor quality and unhealthy foods. The organization works to incorporate the local community in food production and distribution. They imagine a world where locally grown organic produce is affordable and plentiful enough to feed the community.\u003c/p>\n\u003cfigure id=\"attachment_11818926\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11818926\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community Services Unlimited (CSU) has a Village Market Place store and cafe that also serves as a community space. The walls are adorned with memorabilia from the Black Panther Party, which founded Community Services Unlimited in 1977. \u003ccite>(Deepa Fernandes/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The local food system begins with a miniature urban farm on a corner block, close to the skyscrapers of downtown L.A. — on the edge of a community home to many low-income families of color.\u003c/p>\n\u003cp>Fenney is on her knees pulling out weeds that have sprung up after the April rains. “We’ve got carrots growing,” she said pointing to a vibrant patch of green springy leaves. “We planted these just before the stay-at-home orders went in place and we’re starting to harvest them now.”\u003c/p>\n\u003cp>In this green oasis in the middle of the city, a plethora of fruits and veggies are sprouting. “Right now what we’re focusing on is growing food that we can get out into the community,” Fenney said.\u003c/p>\n\u003cp>“We’re growing collard greens, Swiss chard, lettuce, mustard greens, beets, carrots, a couple of different kinds of kale, lettuce mixes,” she said. There are tomatoes, cucumbers, leaks, eggplants, onions and fennel. The farm also portends a tropical island, ringed with banana trees and fruits such as loquats.\u003c/p>\n\u003cfigure id=\"attachment_11818927\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11818927\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A small urban farm, packed with two dozen rotating crops, sits in the middle of Los Angeles, on the border of the University of Southern California campus, on a main thoroughfare — Martin Luther King Jr. Boulevard. \u003ccite>(Deepa Fernandes/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The range of produce is hard to find in South L.A., even when there’s not a pandemic. The area has been \u003ca href=\"https://www.scpr.org/blogs/education/2013/11/13/15156/serving-healthy-meals-to-preschoolers-in-a-food-de/\" target=\"_blank\" rel=\"noopener noreferrer\">labeled a food desert\u003c/a>, and community activism efforts over the years have brought small victories, like the opening of a Trader Joe’s, which sells organic produce, near the University of Southern California campus.\u003c/p>\n\u003cp>During the winter, Community Services Unlimited’s mini-farm buzzed with preschoolers, parents and teens, all contributing and learning how to grow food. But since the pandemic, the organization has moved quickly to help families grow food at home.\u003c/p>\n\u003cp>“What we focus on is showing very simple, affordable methods for growing food in whatever kind of space,” Fenney said, “a patio, a stairwell, a little plot of dirt, anything you have.”\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Neelam Sharma, co-executive director of Community Services Unlimited\"]‘Service programs build no resiliency, they build no sustainability in communities … They build no skills. They build no jobs. They don’t create anything permanent that serves that community.’[/pullquote]\u003c/p>\n\u003cp>Neelam Sharma, co-executive director of Community Services Unlimited, said the Black Panther Party’s ideas still guide what they do today. Unlike food pantries and churches, Sharma said it is not a social service organization.\u003c/p>\n\u003cp>“Service programs build no resiliency, they build no sustainability in communities,” Sharma said. “They build no skills. They build no jobs. They don’t create anything permanent that serves that community.”\u003c/p>\n\u003cp>When the Black Panthers served free breakfast to children, there was a larger justice-seeking goal, Sharma said. “The survival programs were a way of organizing people, they were a way of really engaging with people and pointing out all the failures in a system that had so much money, but where that money was really failing [to reach] ordinary people in the country.”\u003c/p>\n\u003cp>Lining up for food handouts day after day and going from a church to a school just to get enough food can be exhausting and humiliating, Sharma said. “There’s a deeply problematic power structure in that relationship.”\u003c/p>\n\u003cp>However, hunger is spreading quickly in the South L.A. community and across the state. “Compared with the same period last year, we’ve seen a nine-times increase in the numbers of people coming to us for assistance with purchasing food,” Sharma said. [aside postID=news_11814956,news_11707330]\u003c/p>\n\u003cp>Yet here, for a donated bag of food, there’s no lining up — the organization delivers directly to homes in need.\u003c/p>\n\u003cp>The organization also has an organic market and cafe called the Village Market Place, where they sell their own produce. It’s like a mini-Whole Foods, only the walls are adorned with Black Panther and Brown Beret posters. The store and cafe had to close when the stay-at-home orders were issued, but they now take orders over the phone and make same-day deliveries with groceries and produce.\u003c/p>\n\u003cp>To help meet the growing demand, they purchase organic produce from small farms across Southern California.\u003c/p>\n\u003cp>The Village Market Place gives families on CalFresh half off the sticker price as part of the philosophy of allowing low-cost options for all families who want organic produce. Those who can afford it help subsidize those who can’t.\u003c/p>\n\u003cp>It’s another small way of bringing dignity to the hungry and equity to the food system.\u003c/p>\n\u003ch3>Statewide Resources for Food Assistance\u003c/h3>\n\u003cp>\u003ca href=\"https://onwardca.org/dynamic-matching-system/results/\" target=\"_blank\" rel=\"noopener noreferrer\">OnwardCA.org\u003c/a> has a directory for finding local assistance.\u003c/p>\n\u003cp>For more information on Community Services Unlimited, see \u003ca href=\"http://csuinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CSUinc.org\u003c/a>, and for assistance with CalFresh (aka food stamps) applications, call 213-746-1216 or email calfresh@csuinc.org.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdss.ca.gov/food-nutrition/calfresh\" target=\"_blank\" rel=\"noopener noreferrer\">CalFresh\u003c/a> is for people with low-income who meet federal income eligibility rules.\u003c/p>\n\u003ch3>Bay Area Resources\u003c/h3>\n\u003cp>KQED’s guide to \u003ca href=\"https://www.kqed.org/bayareabites/136452/where-to-get-free-school-lunch-in-the-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">Where to Get Free School Lunch in the Bay Area\u003c/a>.\u003c/p>\n\u003cp>Additional resources for paying bills can be found \u003ca href=\"https://www.kqed.org/news/11812172/how-to-navigate-bills-right-now-from-student-loans-to-phone-plans#4\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Deepa Fernandes is a reporting fellow at Pacific Oaks College, which is funded in part by First 5 LA.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Parents across California are skipping meals — this food justice organization founded by the Black Panthers wants to change that.\r\n",
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"title": "Some Parents Skip Meals to Feed Their Children, but Who Will Feed the Adults? One Organization Has an Answer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prior to the stay-at-home order, Diosmery Durán said she and her family were doing fine, supported by her husband’s handyman business. But when the pandemic hit, he lost nearly all his work overnight, and the family income disappeared. After paying the rent, utilities, cable and phone bills, there was little left.\u003c/p>\n\u003cp>The only thing Durán could skimp on was food.\u003c/p>\n\u003cp>She and her husband began getting up early to wait in the ever-increasing lines at local food pantries and schools for groceries. \u003c/p>\u003c/div>",
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"content": "‘If I don’t eat sometimes it doesn’t matter because when you have kids you always think about them.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I just went, sometimes at six in the morning,” Durán said. Standing in lines for food has become a daily full-time job for \u003ca href=\"https://www.latimes.com/california/story/2020-05-09/as-demand-for-food-skyrockets-due-to-coronavirus-food-banks-play-catch-up\" target=\"_blank\" rel=\"noopener noreferrer\">many families\u003c/a> in South Los Angeles.\u003c/p>\n\u003cp>“If I don’t eat sometimes, it doesn’t matter because when you have kids you always think about them,” Durán said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Across California, 43% of all Latinx parents said they were forgoing some part of the family meal, according to new data from the \u003ca href=\"https://west.edtrust.org/california-parent-poll-covid-19-and-early-childhood/\" target=\"_blank\" rel=\"noopener noreferrer\">Education Trust-West\u003c/a>. Diosmery Durán is one of them.\u003c/p>\n\u003cp>She’s not alone: The \u003ca href=\"https://west.edtrust.org/california-parent-poll-covid-19-and-early-childhood/\" target=\"_blank\" rel=\"noopener noreferrer\">Education Trust-West\u003c/a>‘s statewide survey reached 600 families with children under 5 years old, painting a dire picture.\u003c/p>\n\u003cfigure id=\"attachment_11818925\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11818925\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/05/RS43229_IMG_0898-qut.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43229_IMG_0898-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43229_IMG_0898-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43229_IMG_0898-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43229_IMG_0898-qut-536x402.jpg 536w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Families wait in line for food at Soledad Enrichment Action Resource Center in South Central Los Angeles. Food is given out on a first-come, first-serve basis twice a week between 9 a.m. and noon. In recent weeks, the line starts at 6 a.m., according to Diosmery Durán, mother of two who waits in the line. \u003ccite>(Courtesy of Diosmery Duran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pandemic has laid bare contradictions in the country’s food system. As farmers report \u003ca href=\"https://www.politico.com/news/2020/04/26/food-banks-coronavirus-agriculture-usda-207215\" target=\"_blank\" rel=\"noopener noreferrer\">rotting crops\u003c/a> and \u003ca href=\"https://www.nytimes.com/2020/04/11/business/coronavirus-destroying-food.html\" target=\"_blank\" rel=\"noopener noreferrer\">dumping milk\u003c/a>, hunger is growing. A \u003ca href=\"https://www.brookings.edu/blog/up-front/2020/05/06/the-covid-19-crisis-has-already-left-too-many-children-hungry-in-america/\" target=\"_blank\" rel=\"noopener noreferrer\">Brookings Institution analysis\u003c/a> found nationwide nearly one in five families with children under 12 are experiencing food insecurity. California parents are also struggling to feed their families, and food banks are seeing demand dramatically increase.\u003c/p>\n\u003cp>“Parents are struggling with basic needs,” said Elisha Smith Arrillaga, executive director of the Education Trust-West.\u003c/p>\n\u003cp>Each day, Durán or her husband wait in the various lines where food is distributed. She communicates constantly with other mothers to find out which location is giving out milk, diapers or other goods. And she often shares whatever the family gets.\u003c/p>\n\u003cp>“We all just try to help each other,” Durán said.\u003c/p>\n\u003cp>Durán realized she needed help applying for government food assistance through CalFresh. While waiting in a food pantry line she heard that a local organization, Community Services Unlimited (CSU), was providing assistance with applications, so she called. CSU has seen a nine-fold increase in calls for CalFresh application assistance since the COVID-19 pandemic struck.\u003c/p>\n\u003cp>While food pantries, nonprofit groups, churches and schools have become hubs for hungry families to receive food, Community Services Unlimited believes there is a better way to solve hunger issues. Heather Fenney, co-executive director of the organization said they are working to create more empowered food communities.\u003c/p>\n\u003cp>“At a time like this, the need for our communities to have greater self-sufficiency around food is really critical,” Fenney said.\u003c/p>\n\u003cp>The organization was originally founded as part of the Southern California Chapter of the Black Panther Party in 1977. They work to upend the injustices of a food system steeped in charity with poor quality and unhealthy foods. The organization works to incorporate the local community in food production and distribution. They imagine a world where locally grown organic produce is affordable and plentiful enough to feed the community.\u003c/p>\n\u003cfigure id=\"attachment_11818926\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11818926\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43228_IMG_0853-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community Services Unlimited (CSU) has a Village Market Place store and cafe that also serves as a community space. The walls are adorned with memorabilia from the Black Panther Party, which founded Community Services Unlimited in 1977. \u003ccite>(Deepa Fernandes/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The local food system begins with a miniature urban farm on a corner block, close to the skyscrapers of downtown L.A. — on the edge of a community home to many low-income families of color.\u003c/p>\n\u003cp>Fenney is on her knees pulling out weeds that have sprung up after the April rains. “We’ve got carrots growing,” she said pointing to a vibrant patch of green springy leaves. “We planted these just before the stay-at-home orders went in place and we’re starting to harvest them now.”\u003c/p>\n\u003cp>In this green oasis in the middle of the city, a plethora of fruits and veggies are sprouting. “Right now what we’re focusing on is growing food that we can get out into the community,” Fenney said.\u003c/p>\n\u003cp>“We’re growing collard greens, Swiss chard, lettuce, mustard greens, beets, carrots, a couple of different kinds of kale, lettuce mixes,” she said. There are tomatoes, cucumbers, leaks, eggplants, onions and fennel. The farm also portends a tropical island, ringed with banana trees and fruits such as loquats.\u003c/p>\n\u003cfigure id=\"attachment_11818927\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11818927\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/05/RS43224_IMG_0825-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A small urban farm, packed with two dozen rotating crops, sits in the middle of Los Angeles, on the border of the University of Southern California campus, on a main thoroughfare — Martin Luther King Jr. Boulevard. \u003ccite>(Deepa Fernandes/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The range of produce is hard to find in South L.A., even when there’s not a pandemic. The area has been \u003ca href=\"https://www.scpr.org/blogs/education/2013/11/13/15156/serving-healthy-meals-to-preschoolers-in-a-food-de/\" target=\"_blank\" rel=\"noopener noreferrer\">labeled a food desert\u003c/a>, and community activism efforts over the years have brought small victories, like the opening of a Trader Joe’s, which sells organic produce, near the University of Southern California campus.\u003c/p>\n\u003cp>During the winter, Community Services Unlimited’s mini-farm buzzed with preschoolers, parents and teens, all contributing and learning how to grow food. But since the pandemic, the organization has moved quickly to help families grow food at home.\u003c/p>\n\u003cp>“What we focus on is showing very simple, affordable methods for growing food in whatever kind of space,” Fenney said, “a patio, a stairwell, a little plot of dirt, anything you have.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘Service programs build no resiliency, they build no sustainability in communities … They build no skills. They build no jobs. They don’t create anything permanent that serves that community.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Neelam Sharma, co-executive director of Community Services Unlimited, said the Black Panther Party’s ideas still guide what they do today. Unlike food pantries and churches, Sharma said it is not a social service organization.\u003c/p>\n\u003cp>“Service programs build no resiliency, they build no sustainability in communities,” Sharma said. “They build no skills. They build no jobs. They don’t create anything permanent that serves that community.”\u003c/p>\n\u003cp>When the Black Panthers served free breakfast to children, there was a larger justice-seeking goal, Sharma said. “The survival programs were a way of organizing people, they were a way of really engaging with people and pointing out all the failures in a system that had so much money, but where that money was really failing [to reach] ordinary people in the country.”\u003c/p>\n\u003cp>Lining up for food handouts day after day and going from a church to a school just to get enough food can be exhausting and humiliating, Sharma said. “There’s a deeply problematic power structure in that relationship.”\u003c/p>\n\u003cp>However, hunger is spreading quickly in the South L.A. community and across the state. “Compared with the same period last year, we’ve seen a nine-times increase in the numbers of people coming to us for assistance with purchasing food,” Sharma said. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet here, for a donated bag of food, there’s no lining up — the organization delivers directly to homes in need.\u003c/p>\n\u003cp>The organization also has an organic market and cafe called the Village Market Place, where they sell their own produce. It’s like a mini-Whole Foods, only the walls are adorned with Black Panther and Brown Beret posters. The store and cafe had to close when the stay-at-home orders were issued, but they now take orders over the phone and make same-day deliveries with groceries and produce.\u003c/p>\n\u003cp>To help meet the growing demand, they purchase organic produce from small farms across Southern California.\u003c/p>\n\u003cp>The Village Market Place gives families on CalFresh half off the sticker price as part of the philosophy of allowing low-cost options for all families who want organic produce. Those who can afford it help subsidize those who can’t.\u003c/p>\n\u003cp>It’s another small way of bringing dignity to the hungry and equity to the food system.\u003c/p>\n\u003ch3>Statewide Resources for Food Assistance\u003c/h3>\n\u003cp>\u003ca href=\"https://onwardca.org/dynamic-matching-system/results/\" target=\"_blank\" rel=\"noopener noreferrer\">OnwardCA.org\u003c/a> has a directory for finding local assistance.\u003c/p>\n\u003cp>For more information on Community Services Unlimited, see \u003ca href=\"http://csuinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CSUinc.org\u003c/a>, and for assistance with CalFresh (aka food stamps) applications, call 213-746-1216 or email calfresh@csuinc.org.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdss.ca.gov/food-nutrition/calfresh\" target=\"_blank\" rel=\"noopener noreferrer\">CalFresh\u003c/a> is for people with low-income who meet federal income eligibility rules.\u003c/p>\n\u003ch3>Bay Area Resources\u003c/h3>\n\u003cp>KQED’s guide to \u003ca href=\"https://www.kqed.org/bayareabites/136452/where-to-get-free-school-lunch-in-the-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">Where to Get Free School Lunch in the Bay Area\u003c/a>.\u003c/p>\n\u003cp>Additional resources for paying bills can be found \u003ca href=\"https://www.kqed.org/news/11812172/how-to-navigate-bills-right-now-from-student-loans-to-phone-plans#4\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Deepa Fernandes is a reporting fellow at Pacific Oaks College, which is funded in part by First 5 LA.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This post has been updated\u003c/em>\u003c/p>\n\u003cp>A man cursing and muttering incoherently opened fire aboard a packed Greyhound bus in Southern California early Monday, killing one person and wounding five others in a seemingly random attack before passengers disarmed him, authorities and a witness said.\u003c/p>\n\u003cp>The driver of the Los Angeles-to-San Francisco bus pulled off onto the shoulder, where some of those aboard led the killer off the vehicle, and he was quickly taken into custody, California Highway Patrol Sgt. Brian Pennings said. The driver continued on to the next exit as passengers performed first aid on the wounded, he said.\u003c/p>\n\u003cp>The motive for the shooting was not immediately known, and there was no indication the gunman knew any of the victims, Pennings said. He said several ammunition magazines were discovered along with the gun.\u003c/p>\n\u003cp>https://twitter.com/NewsHour/status/1224436898745077763?s=20\u003c/p>\n\u003cp>The bus was traveling on Interstate 5 near the small mountain community of Lebec, about 70 miles northwest of Los Angeles, when the passenger started shooting with a semi-automatic handgun shortly before 1:30 a.m. Forty-three people were aboard, including 6- and 8-year-old children, who were not hurt.\u003c/p>\n\u003cp>The dead passenger was identified as a 51-year-old woman from Colombia. Two victims were hospitalized with serious injuries, Pennings said. The remaining passengers were later driven to Northern California on another bus.\u003c/p>\n\u003cp>Passenger Mark Grabban, 29, told The Associated Press that the gunman had been sitting with his leg sticking out into the aisle, muttering to himself incoherently.[aside tag=\"mass-shooting\" label=\"related coverage\"]\u003c/p>\n\u003cp>“He was just saying weird stuff like 'you don’t know me like that,' ‘wait til we get to the station,' 'get away from the dude in the striped shirt,’ ” Grabban said in a series of Instagram messages.\u003c/p>\n\u003cp>Suddenly, the man started cursing and shooting, Grabban said. Grabban hid beneath the seat in front of him. He said the gunman seemed to fire eight or nine shots that “seemed to go on forever.” He added: “I was waiting for one to hit me.\"\u003c/p>\n\u003cp>“I thought I was shot because I felt a rush of heat on the back of my head as I went down,” he said. “But I guess I just smashed my head on the seat as I went down to the floor.”\u003c/p>\n\u003cp>Then, silence fell. The injured passengers began moaning, and others started panicking. It was dark outside and they couldn't see what the gunman was doing after he got off the bus. Grabban said the driver of the stopped vehicle asked over the loudspeaker if anyone had been hurt and did not immediately pull away. “Everyone was screaming at him to drive off,” Grabban said.\u003c/p>\n\u003cp>Pennings said the driver's actions \"were very appropriate and one could say heroic.” The officer gave no immediate details on how the passengers disarmed the killer or made him get off the bus.\u003c/p>\n\u003cp>Passengers told Grabban someone wrestled the gun away from the shooter, but he didn't witness it, he said.\u003c/p>\n\u003cp>No immediate charges were brought against the the suspect, whose name was not released.\u003c/p>\n\u003cp>Grabban, who was sitting near the back of the bus with his girlfriend, picked up the gun's empty magazine clip and handed it to the driver. A casing ended up on Grabban's lap, and he noticed a bullet hole in the floor next to him.\u003c/p>\n\u003cp>“I saw the blood on the floor of the aisle,” Grabban told \u003ca href=\"https://www.nbcnews.com/news/us-news/six-wounded-california-greyhound-bus-shooting-suspect-custody-n1128581\" target=\"_blank\" rel=\"noopener noreferrer\">NBC News\u003c/a>. \"I looked to the woman on the left, and she wasn’t responding, wasn’t moving or anything. She was lifeless.\"\u003c/p>\n\u003cp>Authorities were looking into whether a video camera aboard the vehicle captured the attack, which happened when the bus was at the top of Tejon Pass. It rises to an elevation of more than 4,100 feet in Lebec.\u003c/p>\n\u003cp>Greyhound prohibits passengers from bringing guns, explosives or dangerous chemicals on board its buses or in their luggage, according to its website. The company declined to answer additional questions about security on its buses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This post has been updated\u003c/em>\u003c/p>\n\u003cp>A man cursing and muttering incoherently opened fire aboard a packed Greyhound bus in Southern California early Monday, killing one person and wounding five others in a seemingly random attack before passengers disarmed him, authorities and a witness said.\u003c/p>\n\u003cp>The driver of the Los Angeles-to-San Francisco bus pulled off onto the shoulder, where some of those aboard led the killer off the vehicle, and he was quickly taken into custody, California Highway Patrol Sgt. Brian Pennings said. The driver continued on to the next exit as passengers performed first aid on the wounded, he said.\u003c/p>\n\u003cp>The motive for the shooting was not immediately known, and there was no indication the gunman knew any of the victims, Pennings said. He said several ammunition magazines were discovered along with the gun.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The bus was traveling on Interstate 5 near the small mountain community of Lebec, about 70 miles northwest of Los Angeles, when the passenger started shooting with a semi-automatic handgun shortly before 1:30 a.m. Forty-three people were aboard, including 6- and 8-year-old children, who were not hurt.\u003c/p>\n\u003cp>The dead passenger was identified as a 51-year-old woman from Colombia. Two victims were hospitalized with serious injuries, Pennings said. The remaining passengers were later driven to Northern California on another bus.\u003c/p>\n\u003cp>Passenger Mark Grabban, 29, told The Associated Press that the gunman had been sitting with his leg sticking out into the aisle, muttering to himself incoherently.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He was just saying weird stuff like 'you don’t know me like that,' ‘wait til we get to the station,' 'get away from the dude in the striped shirt,’ ” Grabban said in a series of Instagram messages.\u003c/p>\n\u003cp>Suddenly, the man started cursing and shooting, Grabban said. Grabban hid beneath the seat in front of him. He said the gunman seemed to fire eight or nine shots that “seemed to go on forever.” He added: “I was waiting for one to hit me.\"\u003c/p>\n\u003cp>“I thought I was shot because I felt a rush of heat on the back of my head as I went down,” he said. “But I guess I just smashed my head on the seat as I went down to the floor.”\u003c/p>\n\u003cp>Then, silence fell. The injured passengers began moaning, and others started panicking. It was dark outside and they couldn't see what the gunman was doing after he got off the bus. Grabban said the driver of the stopped vehicle asked over the loudspeaker if anyone had been hurt and did not immediately pull away. “Everyone was screaming at him to drive off,” Grabban said.\u003c/p>\n\u003cp>Pennings said the driver's actions \"were very appropriate and one could say heroic.” The officer gave no immediate details on how the passengers disarmed the killer or made him get off the bus.\u003c/p>\n\u003cp>Passengers told Grabban someone wrestled the gun away from the shooter, but he didn't witness it, he said.\u003c/p>\n\u003cp>No immediate charges were brought against the the suspect, whose name was not released.\u003c/p>\n\u003cp>Grabban, who was sitting near the back of the bus with his girlfriend, picked up the gun's empty magazine clip and handed it to the driver. A casing ended up on Grabban's lap, and he noticed a bullet hole in the floor next to him.\u003c/p>\n\u003cp>“I saw the blood on the floor of the aisle,” Grabban told \u003ca href=\"https://www.nbcnews.com/news/us-news/six-wounded-california-greyhound-bus-shooting-suspect-custody-n1128581\" target=\"_blank\" rel=\"noopener noreferrer\">NBC News\u003c/a>. \"I looked to the woman on the left, and she wasn’t responding, wasn’t moving or anything. She was lifeless.\"\u003c/p>\n\u003cp>Authorities were looking into whether a video camera aboard the vehicle captured the attack, which happened when the bus was at the top of Tejon Pass. It rises to an elevation of more than 4,100 feet in Lebec.\u003c/p>\n\u003cp>Greyhound prohibits passengers from bringing guns, explosives or dangerous chemicals on board its buses or in their luggage, according to its website. The company declined to answer additional questions about security on its buses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>California has long lured dreamers. People looking to reinvent themselves. To find a better future for their children. To have a home with a palm tree in the front yard.\u003c/p>\n\u003cp>But we know that dream is also increasingly out of reach for many people. And some are beginning to question whether the California dream is worth it, or whether it’s even still alive.\u003c/p>\n\u003cp>To that end, KQED’s The California Report Magazine in November hosted “Dreaming the Golden State,” a night of live storytelling about California dreams found … and lost. The event, at San Francisco’s Brava Theater, featured some of KQED’s own radio reporters, transferring their stories from the airwaves to the stage, along with five listeners who shared their own California dreams.\u003c/p>\n\u003cp>Here is part one of highlights from the event.\u003c/p>\n\u003ch2>How My Parents Found a Place to Love in LA\u003c/h2>\n\u003cfigure id=\"attachment_11796333\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796333 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The California Report Magazine’s host Sasha Khokha kicked off the evening with her own family’s California dream story. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To kickoff the evening, TCR Magazine host Sasha Khokha shared her family’s California dream by reciting a \u003ca href=\"https://www.kqed.org/news/11670400/letter-to-my-california-dreamer-how-my-parents-found-a-place-to-love-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> she wrote to her parents. A rebellious Irish Catholic girl and a skinny Indian engineer, the two met and fell in love at a time when interracial marriage was still illegal in some parts of the country.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Searching for New Beginnings on ‘Gold Mountain’\u003c/h2>\n\u003cfigure id=\"attachment_11796178\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796178 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Eng, of Oakland, performed her ‘Letter to my California Dreamer’ to her great great great grandparents. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In our ‘\u003ca href=\"https://www.kqed.org/news/tag/letters-to-my-california-dreamer\" target=\"_blank\" rel=\"noopener noreferrer\">Letter to My California Dreamer\u003c/a>‘ series, we asked listeners to send us compositions written to the first people in their families who arrived in California. One of the first submissions we received was from Tiffany Eng of Oakland. On stage, she recited the \u003ca href=\"https://www.kqed.org/news/11684010/letter-to-my-california-dreamer-searching-for-new-beginnings-on-gold-mountain\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> she wrote to her great-great-great-grandparents, who settled in Oakland’s Chinatown in 1906. Six generations later, Eng said, her family’s roots in Oakland have grown deep.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>‘Pet Sounds’ at 50: What Ever Happened to Those Goats?\u003c/h2>\n\u003cfigure id=\"attachment_11796216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796216 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles-based reporter Peter Gilstrap had a musical take on the California dream with a story about The Beach Boys’ album, ‘Pet Sounds.’ \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1960s, The Beach Boys, to many people, perfectly represented California. On every album cover, they sold the idealized version of life on the beach in sunny Southern California. But that changed in 1966, when The Beach Boys released \u003ca href=\"https://open.spotify.com/album/6GphKx2QAPRoVGWE9D7ou8\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Sounds\u003c/a>, with an album cover that featured the very unbeachy image of the band feeding goats. The album was a collection of 13 groundbreaking songs that redefined pop music. In the decades since, critics and fans have scrutinized and analyzed every single aspect of the album, including the mysterious cover. One of our favorite reporters from Los Angeles, Peter Gilstrap, helped unearth the story behind the album.\u003c/p>\n\u003ch2>Letter to My California Dreamer: A Mother’s Brave Journey to Citizenship\u003c/h2>\n\u003cfigure id=\"attachment_11796368\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796368 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Listener Javier Cervantes shares his ‘Letter to My California Dreamer’ about his mother, who crossed the Mexico-United States border illegally in search of a better life. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Defying expectations to marry a farmer and have children, Maria Mojarro Cervantes fled Zacatecas in Central Mexico to find a better life in San Francisco. Listener Javier Cervantes of San Jose wrote a \u003ca href=\"https://www.kqed.org/news/11676288/letter-to-my-california-dreamer-a-mothers-brave-journey-to-citizenship\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> to Maria, his mother, about her brave journey to becoming a U.S. citizen.\u003c/p>\n\u003ch2>On Teaching for Nearly Five Decades at a West Oakland High School\u003c/h2>\n\u003cfigure id=\"attachment_11796223\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796223 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left: KQED education reporter Vanessa Rancaño, Dr. LuPaulette Taylor and Sasha Khokha discuss what keeps Taylor motivated after 50 years on the job. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many, a big part of the California dream has been the promise of a good public K-12 education — and two world-class public university systems. At a time when so many teachers are leaving the profession, KQED education reporter Vanessa Rancaño introduced us to Dr. LuPaulette Taylor, who recently began her 50th year on her feet teaching at McClymonds High School in West Oakland, a school that has long struggled with teacher retention.\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "'Dreaming the Golden State' With the California Report Magazine (Part One) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California has long lured dreamers. People looking to reinvent themselves. To find a better future for their children. To have a home with a palm tree in the front yard.\u003c/p>\n\u003cp>But we know that dream is also increasingly out of reach for many people. And some are beginning to question whether the California dream is worth it, or whether it’s even still alive.\u003c/p>\n\u003cp>To that end, KQED’s The California Report Magazine in November hosted “Dreaming the Golden State,” a night of live storytelling about California dreams found … and lost. The event, at San Francisco’s Brava Theater, featured some of KQED’s own radio reporters, transferring their stories from the airwaves to the stage, along with five listeners who shared their own California dreams.\u003c/p>\n\u003cp>Here is part one of highlights from the event.\u003c/p>\n\u003ch2>How My Parents Found a Place to Love in LA\u003c/h2>\n\u003cfigure id=\"attachment_11796333\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796333 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The California Report Magazine’s host Sasha Khokha kicked off the evening with her own family’s California dream story. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To kickoff the evening, TCR Magazine host Sasha Khokha shared her family’s California dream by reciting a \u003ca href=\"https://www.kqed.org/news/11670400/letter-to-my-california-dreamer-how-my-parents-found-a-place-to-love-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> she wrote to her parents. A rebellious Irish Catholic girl and a skinny Indian engineer, the two met and fell in love at a time when interracial marriage was still illegal in some parts of the country.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Searching for New Beginnings on ‘Gold Mountain’\u003c/h2>\n\u003cfigure id=\"attachment_11796178\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796178 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Eng, of Oakland, performed her ‘Letter to my California Dreamer’ to her great great great grandparents. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In our ‘\u003ca href=\"https://www.kqed.org/news/tag/letters-to-my-california-dreamer\" target=\"_blank\" rel=\"noopener noreferrer\">Letter to My California Dreamer\u003c/a>‘ series, we asked listeners to send us compositions written to the first people in their families who arrived in California. One of the first submissions we received was from Tiffany Eng of Oakland. On stage, she recited the \u003ca href=\"https://www.kqed.org/news/11684010/letter-to-my-california-dreamer-searching-for-new-beginnings-on-gold-mountain\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> she wrote to her great-great-great-grandparents, who settled in Oakland’s Chinatown in 1906. Six generations later, Eng said, her family’s roots in Oakland have grown deep.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘Pet Sounds’ at 50: What Ever Happened to Those Goats?\u003c/h2>\n\u003cfigure id=\"attachment_11796216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796216 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles-based reporter Peter Gilstrap had a musical take on the California dream with a story about The Beach Boys’ album, ‘Pet Sounds.’ \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1960s, The Beach Boys, to many people, perfectly represented California. On every album cover, they sold the idealized version of life on the beach in sunny Southern California. But that changed in 1966, when The Beach Boys released \u003ca href=\"https://open.spotify.com/album/6GphKx2QAPRoVGWE9D7ou8\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Sounds\u003c/a>, with an album cover that featured the very unbeachy image of the band feeding goats. The album was a collection of 13 groundbreaking songs that redefined pop music. In the decades since, critics and fans have scrutinized and analyzed every single aspect of the album, including the mysterious cover. One of our favorite reporters from Los Angeles, Peter Gilstrap, helped unearth the story behind the album.\u003c/p>\n\u003ch2>Letter to My California Dreamer: A Mother’s Brave Journey to Citizenship\u003c/h2>\n\u003cfigure id=\"attachment_11796368\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796368 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Listener Javier Cervantes shares his ‘Letter to My California Dreamer’ about his mother, who crossed the Mexico-United States border illegally in search of a better life. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Defying expectations to marry a farmer and have children, Maria Mojarro Cervantes fled Zacatecas in Central Mexico to find a better life in San Francisco. Listener Javier Cervantes of San Jose wrote a \u003ca href=\"https://www.kqed.org/news/11676288/letter-to-my-california-dreamer-a-mothers-brave-journey-to-citizenship\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> to Maria, his mother, about her brave journey to becoming a U.S. citizen.\u003c/p>\n\u003ch2>On Teaching for Nearly Five Decades at a West Oakland High School\u003c/h2>\n\u003cfigure id=\"attachment_11796223\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796223 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left: KQED education reporter Vanessa Rancaño, Dr. LuPaulette Taylor and Sasha Khokha discuss what keeps Taylor motivated after 50 years on the job. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many, a big part of the California dream has been the promise of a good public K-12 education — and two world-class public university systems. At a time when so many teachers are leaving the profession, KQED education reporter Vanessa Rancaño introduced us to Dr. LuPaulette Taylor, who recently began her 50th year on her feet teaching at McClymonds High School in West Oakland, a school that has long struggled with teacher retention.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Golden State Plate: Sriracha’s Journey From Southeast Asia to Southern California",
"headTitle": "Golden State Plate: Sriracha’s Journey From Southeast Asia to Southern California | KQED",
"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Sriracha is everywhere. It’s used to spice up anything from chips and chocolate bars to burgers. Just about every fast food chain has a Sriracha-infused menu option.\u003c/p>\n\u003cp>So how did this sauce go from niche condiment to a beloved mainstream staple?\u003c/p>\n\u003cp>The story begins with a Vietnamese refugee who found a home — and just the right peppers — in Southern California.\u003c/p>\n\u003cp>David Tran is the founder and CEO of Huy Fong Foods, the multi-million dollar company that makes Sriracha. The clear bottle filled with fiery red paste has itself become iconic, with a bright green top and a white rooster on the label. The rooster is there because Tran was born in 1945, and his Zodiac sign is the rooster. It’s also why Sriracha is sometimes referred to as “cock sauce” — and yes, they sell t-shirts with that name on it.\u003c/p>\n\u003cp>Tran got his start in Vietnam, when his brother gave him a chili field. He started making and selling a hot sauce called Pepper Sa-te in 1975. It’s based on a Thai chili sauce named for the coastal town of Si Racha. Tran sold the sauce in glass baby food jars.\u003c/p>\n\u003cfigure id=\"attachment_11796236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11796236\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to Huy Fong Foods in Irwindale, about 20 miles northeast of downtown Los Angeles. The factory has allowed guided tours since the company was accused of sickening nearby residents with its spicy odors. \u003ccite>(Avishay Artsy/KQED News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They used to sell them actually on bikes. And actually my husband was one of the guys, the boys that helped him sell it to the markets over there. Because in Vietnam everybody makes their own hot sauce,” explained Donna Lam. She’s David Tran’s sister-in-law and the company’s executive operations officer. Many of the company’s officials are related to Tran.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Tien Nguyen, food writer\"]‘He sourced these really fresh peppers. He processed them and they were on your table. That has become the definition of California cuisine. And I really think that he has helped develop this idea of what it means to cook and eat locally and seasonally.’[/pullquote]\u003c/p>\n\u003cp>Tran is ethnically Chinese and was a major in the South Vietnamese army, which made him a target of the Communist regime in Vietnam following the Vietnam War. He fled the country on a Taiwanese freighter called the Huey Fong, which means “gathering prosperity” and inspired the name of his company.\u003c/p>\n\u003cp>Tran sailed to the U.S., arriving first in Boston, but the cold winters and lack of fresh peppers drove him west. He moved to Los Angeles in 1979 and established his business in Chinatown, delivering the product himself in a blue Chevy van.\u003c/p>\n\u003cp>“California is the farmer state. They have a lot of produce. So I start a business in California. Seems like the right choice,” Tran explained matter-of-factly.\u003c/p>\n\u003cp>To make Sriracha, Tran uses red jalapeños. They’re no different from green jalapeños, except they’re left on the vine to mature, so they become spicier and sweeter. That’s how Tran made chili sauce back in Vietnam.\u003c/p>\n\u003cp>“In Asia, in China, chili must be red, not green. From beginning we using red, we’re not using green pepper,” Tran explained.\u003c/p>\n\u003cfigure id=\"attachment_11796307\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796307 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The waiting room at Huy Fong Foods includes giant inflatable Sriracha bottles and cardboard cutouts of company founder David Tran. \u003ccite>(Avishay Artsy/KQED News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because he insisted on using freshly-picked peppers, food writer Tien Nguyen says Tran is quintessentially Californian.\u003c/p>\n\u003cp>“All of this California Food Revolution stuff that was happening in the 1970s, where chefs were sourcing locally and seasonally, or trying to source locally and seasonally, he was doing it,” Nguyen said.\u003c/p>\n\u003cp>“He sourced these really fresh peppers. He processed them and they were on your table. That has become the definition of California cuisine. And I really think that he has helped develop this idea of what it means to cook and eat locally and seasonally,” she added.\u003c/p>\n\u003cfigure id=\"attachment_11796315\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796315 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A variety of t-shirts are for sale at the Huy Fong gift shop. \u003ccite>(Avishay Artsy/KQED News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So why has the sauce become such a hit? Maybe the sweetness and spiciness played well with the American palate. Maybe it was the exotic look of the rooster logo. Or maybe, according to Huy Fong COO Donna Lam, because it’s cheap.\u003c/p>\n\u003cp>“David’s philosophy is to make a rich man’s sauce at a poor man’s price and everybody can get it,” she said.\u003c/p>\n\u003cp>Lam has another theory though. It’s the feel-good origin story of Sriracha. Tran came to America with nothing and launched a business that makes an estimated $80 million a year — and he happily poses for photos with tour groups.\u003c/p>\n\u003cp>“It’s not just like a guy in a glass office somewhere that’s unapproachable, he’s a very approachable guy,” she said.\u003c/p>\n\u003cp>Nguyen has a different theory: as Vietnamese and Thai food became more popular, chefs and foodies sought out Sriracha as well, and eventually, supermarkets started stocking it.\u003c/p>\n\u003cp>For 28 years, Huy Fong got peppers exclusively from Underwood Ranches in Ventura County. But the partnership fell apart in 2016 over allegations of an overpayment and breach of contract. Dueling lawsuits ended this summer when a jury in Ventura County awarded the grower $23.3 million. Huy Fong plans to fight the decision.\u003c/p>\n\u003cp>After the lawsuit with Underwood Ranches, Huy Fong has had to look elsewhere for fresh jalapeños. It now gets its peppers from farms in California, New Mexico and Mexico. The phrase “made in California” was taken off the label.\u003c/p>\n\u003cp>[aside tag=\"golden-state-plate\" label=\"related coverage\"]\u003c/p>\n\u003cp>But that wasn’t Huy Fong’s first legal battle. Its factory is in Irwindale, about 20 miles northeast of downtown Los Angeles. In 2013, the city filed suit because some neighbors complained about headaches and itchy eyes caused by odors from the plant.\u003c/p>\n\u003cp>“The local resident, they complain that we make the hot sauce and the spicy, toxic gas make them sick,” Tran said.\u003c/p>\n\u003cp>The company countersued, and Tran considered moving the company to Texas. Eventually the suit was dropped, the company installed new filters to reduce the smell and the feared “srirachapocalypse” was averted.\u003c/p>\n\u003cp>Around that time, Tran’s sauce became a full-blown pop culture phenomenon, with Sriracha flavored everything popping up. Suddenly, there were Sriracha cookbooks, a documentary, \u003ca href=\"https://www.youtube.com/watch?v=abf7TueHs1k\" target=\"_blank\" rel=\"noopener noreferrer\">hip hop shoutouts\u003c/a> and a Sriracha-themed food festival in Los Angeles. Merriam-Webster even added “Sriracha” to its dictionary in 2017.\u003c/p>\n\u003cp>After the lawsuits over the odors were dropped, Tran — like a modern-day Willy Wonka — opened his factory for public tours.\u003c/p>\n\u003cp>“And now we keep open because a lot of people interesting to see how we make it. After they take a tour, they trust my product,” Tran said.\u003c/p>\n\u003cfigure id=\"attachment_11796323\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11796323\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Huy Fong employee inspects bottles on the assembly line. \u003ccite>(Avishay Artsy/KQED News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A recent tour began in a waiting room with walls covered in pictures of Sriracha fans from around the world. There are cardboard cutouts of Tran and the Sriracha bottle. There’s even a picture of astronauts in a space shuttle posing with a bottle.\u003c/p>\n\u003cp>Huy Fong employee Andrea Castillo led the tour group by trolley to the manufacturing facility. The group climbed up a flight of stairs to look down on a conveyor belt. Bright blue fifty-five gallon barrels slid past while workers in white uniforms looked on. The barrels were filled with a mixture of ground chilis, garlic, salt and vinegar.\u003c/p>\n\u003cp>On the tour of the factory I noticed a few of the employees wearing Huy Fong t-shirts. On the back of the shirts it read “No Tear Gas Made Here,” a tongue-in-cheek reference to the 2013 lawsuit.\u003c/p>\n\u003cp>Castillo showed the group how the clear plastic bottles were molded, then filled with the bright red paste, labeled, boxed and placed on pallets to be shipped around the world.\u003c/p>\n\u003cfigure id=\"attachment_11796325\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11796325\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Huy Fong workers inspect the barrels of Sriracha before the paste is bottled, packaged and shipped to distributors. \u003ccite>(Avishay Artsy/KQED News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So does Tran have a vision for the future? He says he has no plans to sell the company or take on investors, and the company doesn’t spend a dime on advertising. Because Tran named his sauce for the Thai city, he can’t trademark the name, which means there are plenty of copycats. There are no new products in the works, aside from Sriracha and two less-popular sauces, Chili Garlic and Sambal Oelek.\u003c/p>\n\u003cp>All he wants to do, he says, is make what his customers want, and that’s Sriracha.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Sriracha is everywhere. It’s used to spice up anything from chips and chocolate bars to burgers. Just about every fast food chain has a Sriracha-infused menu option.\u003c/p>\n\u003cp>So how did this sauce go from niche condiment to a beloved mainstream staple?\u003c/p>\n\u003cp>The story begins with a Vietnamese refugee who found a home — and just the right peppers — in Southern California.\u003c/p>\n\u003cp>David Tran is the founder and CEO of Huy Fong Foods, the multi-million dollar company that makes Sriracha. The clear bottle filled with fiery red paste has itself become iconic, with a bright green top and a white rooster on the label. The rooster is there because Tran was born in 1945, and his Zodiac sign is the rooster. It’s also why Sriracha is sometimes referred to as “cock sauce” — and yes, they sell t-shirts with that name on it.\u003c/p>\n\u003cp>Tran got his start in Vietnam, when his brother gave him a chili field. He started making and selling a hot sauce called Pepper Sa-te in 1975. It’s based on a Thai chili sauce named for the coastal town of Si Racha. Tran sold the sauce in glass baby food jars.\u003c/p>\n\u003cfigure id=\"attachment_11796236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11796236\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40735_IMG_8233-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to Huy Fong Foods in Irwindale, about 20 miles northeast of downtown Los Angeles. The factory has allowed guided tours since the company was accused of sickening nearby residents with its spicy odors. \u003ccite>(Avishay Artsy/KQED News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They used to sell them actually on bikes. And actually my husband was one of the guys, the boys that helped him sell it to the markets over there. Because in Vietnam everybody makes their own hot sauce,” explained Donna Lam. She’s David Tran’s sister-in-law and the company’s executive operations officer. Many of the company’s officials are related to Tran.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘He sourced these really fresh peppers. He processed them and they were on your table. That has become the definition of California cuisine. And I really think that he has helped develop this idea of what it means to cook and eat locally and seasonally.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tran is ethnically Chinese and was a major in the South Vietnamese army, which made him a target of the Communist regime in Vietnam following the Vietnam War. He fled the country on a Taiwanese freighter called the Huey Fong, which means “gathering prosperity” and inspired the name of his company.\u003c/p>\n\u003cp>Tran sailed to the U.S., arriving first in Boston, but the cold winters and lack of fresh peppers drove him west. He moved to Los Angeles in 1979 and established his business in Chinatown, delivering the product himself in a blue Chevy van.\u003c/p>\n\u003cp>“California is the farmer state. They have a lot of produce. So I start a business in California. Seems like the right choice,” Tran explained matter-of-factly.\u003c/p>\n\u003cp>To make Sriracha, Tran uses red jalapeños. They’re no different from green jalapeños, except they’re left on the vine to mature, so they become spicier and sweeter. That’s how Tran made chili sauce back in Vietnam.\u003c/p>\n\u003cp>“In Asia, in China, chili must be red, not green. From beginning we using red, we’re not using green pepper,” Tran explained.\u003c/p>\n\u003cfigure id=\"attachment_11796307\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796307 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40738_IMG_8241-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The waiting room at Huy Fong Foods includes giant inflatable Sriracha bottles and cardboard cutouts of company founder David Tran. \u003ccite>(Avishay Artsy/KQED News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because he insisted on using freshly-picked peppers, food writer Tien Nguyen says Tran is quintessentially Californian.\u003c/p>\n\u003cp>“All of this California Food Revolution stuff that was happening in the 1970s, where chefs were sourcing locally and seasonally, or trying to source locally and seasonally, he was doing it,” Nguyen said.\u003c/p>\n\u003cp>“He sourced these really fresh peppers. He processed them and they were on your table. That has become the definition of California cuisine. And I really think that he has helped develop this idea of what it means to cook and eat locally and seasonally,” she added.\u003c/p>\n\u003cfigure id=\"attachment_11796315\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796315 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40739_IMG_8346-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A variety of t-shirts are for sale at the Huy Fong gift shop. \u003ccite>(Avishay Artsy/KQED News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So why has the sauce become such a hit? Maybe the sweetness and spiciness played well with the American palate. Maybe it was the exotic look of the rooster logo. Or maybe, according to Huy Fong COO Donna Lam, because it’s cheap.\u003c/p>\n\u003cp>“David’s philosophy is to make a rich man’s sauce at a poor man’s price and everybody can get it,” she said.\u003c/p>\n\u003cp>Lam has another theory though. It’s the feel-good origin story of Sriracha. Tran came to America with nothing and launched a business that makes an estimated $80 million a year — and he happily poses for photos with tour groups.\u003c/p>\n\u003cp>“It’s not just like a guy in a glass office somewhere that’s unapproachable, he’s a very approachable guy,” she said.\u003c/p>\n\u003cp>Nguyen has a different theory: as Vietnamese and Thai food became more popular, chefs and foodies sought out Sriracha as well, and eventually, supermarkets started stocking it.\u003c/p>\n\u003cp>For 28 years, Huy Fong got peppers exclusively from Underwood Ranches in Ventura County. But the partnership fell apart in 2016 over allegations of an overpayment and breach of contract. Dueling lawsuits ended this summer when a jury in Ventura County awarded the grower $23.3 million. Huy Fong plans to fight the decision.\u003c/p>\n\u003cp>After the lawsuit with Underwood Ranches, Huy Fong has had to look elsewhere for fresh jalapeños. It now gets its peppers from farms in California, New Mexico and Mexico. The phrase “made in California” was taken off the label.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that wasn’t Huy Fong’s first legal battle. Its factory is in Irwindale, about 20 miles northeast of downtown Los Angeles. In 2013, the city filed suit because some neighbors complained about headaches and itchy eyes caused by odors from the plant.\u003c/p>\n\u003cp>“The local resident, they complain that we make the hot sauce and the spicy, toxic gas make them sick,” Tran said.\u003c/p>\n\u003cp>The company countersued, and Tran considered moving the company to Texas. Eventually the suit was dropped, the company installed new filters to reduce the smell and the feared “srirachapocalypse” was averted.\u003c/p>\n\u003cp>Around that time, Tran’s sauce became a full-blown pop culture phenomenon, with Sriracha flavored everything popping up. Suddenly, there were Sriracha cookbooks, a documentary, \u003ca href=\"https://www.youtube.com/watch?v=abf7TueHs1k\" target=\"_blank\" rel=\"noopener noreferrer\">hip hop shoutouts\u003c/a> and a Sriracha-themed food festival in Los Angeles. Merriam-Webster even added “Sriracha” to its dictionary in 2017.\u003c/p>\n\u003cp>After the lawsuits over the odors were dropped, Tran — like a modern-day Willy Wonka — opened his factory for public tours.\u003c/p>\n\u003cp>“And now we keep open because a lot of people interesting to see how we make it. After they take a tour, they trust my product,” Tran said.\u003c/p>\n\u003cfigure id=\"attachment_11796323\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11796323\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40741_IMG_8284-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Huy Fong employee inspects bottles on the assembly line. \u003ccite>(Avishay Artsy/KQED News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A recent tour began in a waiting room with walls covered in pictures of Sriracha fans from around the world. There are cardboard cutouts of Tran and the Sriracha bottle. There’s even a picture of astronauts in a space shuttle posing with a bottle.\u003c/p>\n\u003cp>Huy Fong employee Andrea Castillo led the tour group by trolley to the manufacturing facility. The group climbed up a flight of stairs to look down on a conveyor belt. Bright blue fifty-five gallon barrels slid past while workers in white uniforms looked on. The barrels were filled with a mixture of ground chilis, garlic, salt and vinegar.\u003c/p>\n\u003cp>On the tour of the factory I noticed a few of the employees wearing Huy Fong t-shirts. On the back of the shirts it read “No Tear Gas Made Here,” a tongue-in-cheek reference to the 2013 lawsuit.\u003c/p>\n\u003cp>Castillo showed the group how the clear plastic bottles were molded, then filled with the bright red paste, labeled, boxed and placed on pallets to be shipped around the world.\u003c/p>\n\u003cfigure id=\"attachment_11796325\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11796325\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40742_IMG_8320-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Huy Fong workers inspect the barrels of Sriracha before the paste is bottled, packaged and shipped to distributors. \u003ccite>(Avishay Artsy/KQED News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So does Tran have a vision for the future? He says he has no plans to sell the company or take on investors, and the company doesn’t spend a dime on advertising. Because Tran named his sauce for the Thai city, he can’t trademark the name, which means there are plenty of copycats. There are no new products in the works, aside from Sriracha and two less-popular sauces, Chili Garlic and Sambal Oelek.\u003c/p>\n\u003cp>All he wants to do, he says, is make what his customers want, and that’s Sriracha.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'Heat' – The Ultimate L.A. Movie, the Ultimate Obsession",
"title": "'Heat' – The Ultimate L.A. Movie, the Ultimate Obsession",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Back in 2018, I heard about a guy in Australia called Blake Howard — for the reason that he loved the same movie as me. A \u003cem>lot\u003c/em>.\u003c/p>\n\u003cp>The movie was Michael Mann’s 1995 crime thriller \u003ca href=\"https://www.imdb.com/title/tt0113277/\">\"Heat\"\u003c/a>. Yet unlike me, Howard loved it so much that he was obsessively making a podcast series analyzing the film one minute at a time, episode by episode — all 170 minutes of it. The podcast was called \u003ca href=\"https://oneheatminute.com/podcast\">\"One Heat Minute\u003c/a>\".\u003c/p>\n\u003cfigure id=\"attachment_11796549\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11796549\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2.jpg\" alt=\"\" width=\"1500\" height=\"999\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-1020x679.jpg 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Blake Howard at the 2019 Sydney Film Festival \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.theringer.com/2017/1/11/16043060/star-wars-minute-movies-by-minute-podcast-microculture-trend-7c45069cdb60\">Minute-by-minute movie podcasts\u003c/a> are nothing new, but I was so intrigued by Howard’s professional dedication to \"Heat,\" of all movies, that I \u003ca href=\"https://www.kqed.org/arts/13839885/a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast\">interviewed him in Sept., 2018\u003c/a>. We talked about both becoming obsessed with \"Heat\" as impressionable teens, podcasting’s ability to create community around extremely niche interests, and his wild fantasy that his cinematic idol, \"Heat\" director Mann, would one day be on \"One Heat Minute.\" We laughed about the sheer implausibility of that last idea, and I wrote up \u003ca href=\"https://www.kqed.org/arts/13839885/a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast\">our conversation\u003c/a> as a story about sincerity and obsession.\u003c/p>\n\u003cp>Now, at the end of his quest two years after he first started, \"One Heat Minute\" has spawned a \u003ca href=\"https://twitter.com/search?q=%23OneHeatMinute&src=typed_query\">hyper-enthusiastic online fan base\u003c/a>, been named in \"Vulture’s\" \u003ca href=\"https://www.vulture.com/article/best-podcasts.html\">100 Great Podcasts\u003c/a>, been \u003ca href=\"https://twitter.com/realgdt/status/1143695297891176448?s=21\">hailed by movie luminaries like Guillermo del Toro\u003c/a>, and welcomed its final guest... Michael Mann.\u003c/p>\n\u003cp>So now, \u003cem>this\u003c/em> is a story about sincerity, obsession and what happens when the usual gulf between famous creators and fandom gets unexpectedly obliterated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>'Clinically Obsessed'\u003c/h3>\n\u003cp>Even if you haven’t seen \"Heat,\" trust me: you probably still \u003cem>know\u003c/em> \"Heat.\" De Niro as a meticulous L.A. bank robber planning the heist of a lifetime, Al Pacino as a volatile cop consumed by taking him down — with a supporting cast stuffed with '90s A-listers from Val Kilmer and Tom Sizemore to Ashley Judd and Natalie Portman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2GfZl4kuVNI\u003c/p>\n\u003cp>\"Heat\" is also loud, bombastic and drips with machismo, and even a lifelong superfan like me can giggle at the riper portions of its dialogue (“For me, the action \u003cem>is\u003c/em> the juice!”) — or roll my eyes a little at how much less drawn the female roles (wives, girlfriends) seem in comparison to their male counterparts. Pacino's performance is infamously brash, and makes a lot more sense when you find out his character was \u003ca href=\"https://news.avclub.com/al-pacino-finally-admits-his-heat-character-was-high-on-1798251639\">meant to be high on cocaine\u003c/a>.\u003c/p>\n\u003cp>Yet as a portrait of a dark, dangerous L.A., and two men obsessed with their professions to the exclusion of all else in life, \"Heat\" radiates an unusual kind of ennui not often found in action movies. Its major themes are loss and loneliness, and moments such as Pacino’s confession to his soon-to-be-ex-wife — “All I have is what I’m going after” — take Mann’s movie to far more melancholic places than most thrillers. Added to its two iconic leads, this at least partly explains why \"Heat\" has developed something of a cult following in the quarter century since it was released.\u003c/p>\n\u003cp>Part of that following since he first saw it? Blake Howard. He describes himself as becoming “clinically obsessed with movies” in his youth, thanks in part to an older brother who worked in a video warehouse and would bring back the VHS spoils for Howard’s consumption. Among those videotapes was \"Heat.\"\u003c/p>\n\u003cfigure id=\"attachment_11796548\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11796548\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake.jpg\" alt=\"\" width=\"1920\" height=\"1212\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-1020x644.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A young Blake Howard with sister Skye and brother Karn - the provider of his VHS collection. \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though it’s regarded as one of the quintessential Los Angeles movies, the version of the city a young Howard saw in this movie — the lonely industrial landscapes, the car culture, the endless roads — was one he hadn’t seen before. It was one that in many ways reminded him of his native Sydney. “This sprawling place... [that] felt so \u003cem>dilapidated\u003c/em>,” he says, “like it was empty.” And as Howard grew older he found \"Heat\" assuming a place in his life as a kind of cinematic life companion, welded to him by “existential and philosophical underpinnings that kind of enriched every viewing.”\u003c/p>\n\u003cp>Of all the movies in the world, a melancholy '90s crime thriller about obsession and alienation, set thousands of miles away, wouldn’t let him go. “I never could satiate the itch to continue talking about it,” he says — even as he became a part time movie critic himself.\u003c/p>\n\u003cfigure id=\"attachment_11796572\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11796572\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Al Pacino in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why in 2017, Howard was affectionately goaded by fellow critic Stu Coote into realizing his dream to “just f****** talk about \"Heat\" every day” — and starting the \"One Heat Minute\" podcast. It was, Howard says, “the ultimate way to tackle and wrestle with this movie.”\u003c/p>\n\u003ch3>'This Is \u003cem>One Heat Minute\u003c/em>'\u003c/h3>\n\u003cp>Initially skeptical that anyone outside of his personal circle of movie critic buddies would be into it, Howard drew from them for his first guests. The first 14 episodes were recorded in a single day, with all the same people, and the production values were low.\u003c/p>\n\u003cp>But remember: \u003cem>a lot of people really like\u003c/em> \"Heat.\" By the time I first spoke with him in 2018, Howard’s monomaniacal, homespun podcast had begun to draw listening numbers in the thousands — and his guest list had moved into the heavy-hitters. Critics like \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-episode-89manohladargis\">Manohla Dargis\u003c/a> of the New York Times, \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-episode-147\">Matt Zoller Sietz\u003c/a> of RoberEbert.com: all showing up, over Skype, to hear Howard intone \"This is 'One Heat Minute'\" and talk enthusiastically about nothing but \"Heat\" for well over an hour each.\u003c/p>\n\u003cfigure id=\"attachment_11796786\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796786\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2.png\" alt=\"\" width=\"1900\" height=\"1163\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2.png 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-160x98.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-800x490.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-1020x624.png 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the \"Heat\" minutes progressed, and his podcast episodes climbed over 100, Howard started scoring guests who’d actually been involved in \u003cem>making\u003c/em> the movie. Like legendary cinematographer \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-episode-100\">Dante Spinotti\u003c/a>, who’d created those shots that Howard had grown up imprinting on his brain, and editor \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-bonuspasqualebuba\">Pasquale “Pat” Buba\u003c/a>, who appeared on \"One Heat Minute\" before his death in September 2018. \u003c/p>\n\u003cp>“I was thrilled every single week to talk to every new person or sometimes repeat guests,” says Howard, “because they were just so great.”\u003c/p>\n\u003cp>After our first chat for KQED, I even joined Howard’s band of fanatics on \"One Heat Minute\" myself. That’s me on \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-episode-148\">Episode 148\u003c/a> discussing the intricate progressions of Robert De Niro’s facial expressions. Coming off the Skype call with Howard, feeling almost drunk on the pleasures of discussing the minute details of a movie with which I’d been intimate since my teens, I was overwhelmed by how good such shared monomania could feel. I finally understood why he’d been able to secure so many guests.\u003c/p>\n\u003ch3>'All I Have is What I'm Going After'\u003c/h3>\n\u003cp>There was still that unfathomable dream in the back of Howard’s mind: scoring Michael Mann himself.\u003c/p>\n\u003cfigure id=\"attachment_11796575\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796575\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606.jpg\" alt=\"\" width=\"1900\" height=\"1410\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606.jpg 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-160x119.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-800x594.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-1020x757.jpg 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Director Michael Mann at the 2016 Academy Awards \u003ccite>( Jason Merritt / Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea that the award-winning director who made the movie that defined Howard’s entire life would even answer the phone — let alone sit down for an hour of taped conversation — still seemed crazy. Except for the fact that one of his \"One Heat Minute\" guests, \"Vulture\" critic Bilge Ebiri was on good terms with Mann — and was determined to lobby him on Howard’s behalf.\u003c/p>\n\u003cp>“I said ‘Even if he just knows about it, it would be great,’” says Howard. “But [Ebiri] is like ‘No: he's not only got to know about it, I'm going to tell him he has to do the show.”\u003c/p>\n\u003cp>Which is how, after much back-and-forth with the relevant representatives, on Episode 167, Michael Mann finally became Howard’s last \"One Heat Minute\" guest.\u003c/p>\n\u003ch3>'Very Flattered That You're Doing This'\u003c/h3>\n\u003cp>Were you nervous, I ask Howard? Knowing you had an hour with the man who’d made the movie that’s become the primary text of your life?\u003c/p>\n\u003cp>“In the \u003cem>before\u003c/em> moment, I was nervous,” he says. “I was mildly freaking out. But when we started talking I don't think I've ever been more confident in any interview that I've ever undertaken.”\u003c/p>\n\u003cp>“I was,” he reminds me, “the most prepared person to ever have a conversation about 'Heat' to Michael Mann.”\u003c/p>\n\u003cfigure id=\"attachment_11796573\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796573\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_.jpg\" alt=\"\" width=\"1900\" height=\"1277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_.jpg 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-800x538.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-1020x686.jpg 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Val Kilmer in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if you yourself \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-finale\">listen to the episode\u003c/a>, what will you hear? A famously obsessive filmmaker discussing his own movie \u003cem>about\u003c/em> obsessive men, with the guy who’s so obsessed with it that he’s based over 150 podcast episodes on it.\u003c/p>\n\u003cp>“I’m very flattered that you’re doing this,” are Mann’s first words in his episode, and you can hear the grin in his voice. When Howard asks about the director’s decision to appear on the podcast, the director explains that the whole endeavor \"sounded completely insane in a totally wonderful way.\"\u003c/p>\n\u003cp>On the subject of his work and his intentions, Mann is a serious, sincere interviewee who employs terms like “contrapuntal” when describing his cinematic output. “His recall for a movie that was made in 1995 and the character motivations and things that he'd had in mind for how that would look was just unbelievable,” notes Howard.\u003c/p>\n\u003cp>https://twitter.com/michaelmann/status/1147591432917487616?s=21\u003c/p>\n\u003cp>Yet in conversation, Mann’s sheer enthusiasm for movies, often overlooked amid his professional reputation as an extreme perfectionist, is also given free rein. Reminiscing about filming that powerful final \"Heat\" minute, where Pacino and De Niro’s characters face off in LAX and only one survives, Mann is uncharacteristically effusive: “It felt like ‘man, I don’t want to be anywhere else on Planet Earth at this moment in time but this set, making this movie.’”\u003c/p>\n\u003cp>In terms of dedication and enthusiasm, the award-winning longtime Hollywood director suddenly sounded a lot... like Howard himself.\u003c/p>\n\u003ch3>'Our Little Campfire'\u003c/h3>\n\u003cp>“I compliment your obsessions,” Mann told Howard in a message recorded for a \"One Heat Minute\" live show at the 2019 Sydney Film Festival.\u003c/p>\n\u003cp>“And from one of the most fastidious and obsessive filmmakers that has ever walked the face of the Earth to compliment your obsessions? That's pretty special,” says Howard. But after all that, where does obsession \u003cem>go\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11796552\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11796552\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee.png\" alt=\"\" width=\"1500\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee.png 1500w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-160x115.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-800x576.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-1020x734.png 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Blake Howard, appropriately dressed in Val Kilmer \"Heat\" t-shirt \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the conclusion of \"One Heat Minute,\" Howard is making even more podcasts about movies, including \"All the President’s Men\" (\"All the Presidents Minutes\") and Mann’s own \"Last of the Mohicans\" (\"The Last Twelve Minutes of the Mohicans\").\u003c/p>\n\u003cp>Yet \"One Heat Minute\" remains the fan project that a lot of people in Hollywood now know about. “For my name to be now synonymous with this movie is probably one of my greatest ever accomplishments” says Howard.\u003c/p>\n\u003cp>https://twitter.com/realgdt/status/1143695297891176448?s=21\u003c/p>\n\u003cp>“Podcasts themselves are little campfires that you can sort of huddle around,” Howard says. “Hopefully our little campfire has brought a lot of people... joy following along.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Back in 2018, I heard about a guy in Australia called Blake Howard — for the reason that he loved the same movie as me. A \u003cem>lot\u003c/em>.\u003c/p>\n\u003cp>The movie was Michael Mann’s 1995 crime thriller \u003ca href=\"https://www.imdb.com/title/tt0113277/\">\"Heat\"\u003c/a>. Yet unlike me, Howard loved it so much that he was obsessively making a podcast series analyzing the film one minute at a time, episode by episode — all 170 minutes of it. The podcast was called \u003ca href=\"https://oneheatminute.com/podcast\">\"One Heat Minute\u003c/a>\".\u003c/p>\n\u003cfigure id=\"attachment_11796549\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11796549\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2.jpg\" alt=\"\" width=\"1500\" height=\"999\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-1020x679.jpg 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Blake Howard at the 2019 Sydney Film Festival \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.theringer.com/2017/1/11/16043060/star-wars-minute-movies-by-minute-podcast-microculture-trend-7c45069cdb60\">Minute-by-minute movie podcasts\u003c/a> are nothing new, but I was so intrigued by Howard’s professional dedication to \"Heat,\" of all movies, that I \u003ca href=\"https://www.kqed.org/arts/13839885/a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast\">interviewed him in Sept., 2018\u003c/a>. We talked about both becoming obsessed with \"Heat\" as impressionable teens, podcasting’s ability to create community around extremely niche interests, and his wild fantasy that his cinematic idol, \"Heat\" director Mann, would one day be on \"One Heat Minute.\" We laughed about the sheer implausibility of that last idea, and I wrote up \u003ca href=\"https://www.kqed.org/arts/13839885/a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast\">our conversation\u003c/a> as a story about sincerity and obsession.\u003c/p>\n\u003cp>Now, at the end of his quest two years after he first started, \"One Heat Minute\" has spawned a \u003ca href=\"https://twitter.com/search?q=%23OneHeatMinute&src=typed_query\">hyper-enthusiastic online fan base\u003c/a>, been named in \"Vulture’s\" \u003ca href=\"https://www.vulture.com/article/best-podcasts.html\">100 Great Podcasts\u003c/a>, been \u003ca href=\"https://twitter.com/realgdt/status/1143695297891176448?s=21\">hailed by movie luminaries like Guillermo del Toro\u003c/a>, and welcomed its final guest... Michael Mann.\u003c/p>\n\u003cp>So now, \u003cem>this\u003c/em> is a story about sincerity, obsession and what happens when the usual gulf between famous creators and fandom gets unexpectedly obliterated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>'Clinically Obsessed'\u003c/h3>\n\u003cp>Even if you haven’t seen \"Heat,\" trust me: you probably still \u003cem>know\u003c/em> \"Heat.\" De Niro as a meticulous L.A. bank robber planning the heist of a lifetime, Al Pacino as a volatile cop consumed by taking him down — with a supporting cast stuffed with '90s A-listers from Val Kilmer and Tom Sizemore to Ashley Judd and Natalie Portman.\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/2GfZl4kuVNI'\n title='//www.youtube.com/embed/2GfZl4kuVNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Heat\" is also loud, bombastic and drips with machismo, and even a lifelong superfan like me can giggle at the riper portions of its dialogue (“For me, the action \u003cem>is\u003c/em> the juice!”) — or roll my eyes a little at how much less drawn the female roles (wives, girlfriends) seem in comparison to their male counterparts. Pacino's performance is infamously brash, and makes a lot more sense when you find out his character was \u003ca href=\"https://news.avclub.com/al-pacino-finally-admits-his-heat-character-was-high-on-1798251639\">meant to be high on cocaine\u003c/a>.\u003c/p>\n\u003cp>Yet as a portrait of a dark, dangerous L.A., and two men obsessed with their professions to the exclusion of all else in life, \"Heat\" radiates an unusual kind of ennui not often found in action movies. Its major themes are loss and loneliness, and moments such as Pacino’s confession to his soon-to-be-ex-wife — “All I have is what I’m going after” — take Mann’s movie to far more melancholic places than most thrillers. Added to its two iconic leads, this at least partly explains why \"Heat\" has developed something of a cult following in the quarter century since it was released.\u003c/p>\n\u003cp>Part of that following since he first saw it? Blake Howard. He describes himself as becoming “clinically obsessed with movies” in his youth, thanks in part to an older brother who worked in a video warehouse and would bring back the VHS spoils for Howard’s consumption. Among those videotapes was \"Heat.\"\u003c/p>\n\u003cfigure id=\"attachment_11796548\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11796548\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake.jpg\" alt=\"\" width=\"1920\" height=\"1212\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-1020x644.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A young Blake Howard with sister Skye and brother Karn - the provider of his VHS collection. \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though it’s regarded as one of the quintessential Los Angeles movies, the version of the city a young Howard saw in this movie — the lonely industrial landscapes, the car culture, the endless roads — was one he hadn’t seen before. It was one that in many ways reminded him of his native Sydney. “This sprawling place... [that] felt so \u003cem>dilapidated\u003c/em>,” he says, “like it was empty.” And as Howard grew older he found \"Heat\" assuming a place in his life as a kind of cinematic life companion, welded to him by “existential and philosophical underpinnings that kind of enriched every viewing.”\u003c/p>\n\u003cp>Of all the movies in the world, a melancholy '90s crime thriller about obsession and alienation, set thousands of miles away, wouldn’t let him go. “I never could satiate the itch to continue talking about it,” he says — even as he became a part time movie critic himself.\u003c/p>\n\u003cfigure id=\"attachment_11796572\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11796572\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Al Pacino in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why in 2017, Howard was affectionately goaded by fellow critic Stu Coote into realizing his dream to “just f****** talk about \"Heat\" every day” — and starting the \"One Heat Minute\" podcast. It was, Howard says, “the ultimate way to tackle and wrestle with this movie.”\u003c/p>\n\u003ch3>'This Is \u003cem>One Heat Minute\u003c/em>'\u003c/h3>\n\u003cp>Initially skeptical that anyone outside of his personal circle of movie critic buddies would be into it, Howard drew from them for his first guests. The first 14 episodes were recorded in a single day, with all the same people, and the production values were low.\u003c/p>\n\u003cp>But remember: \u003cem>a lot of people really like\u003c/em> \"Heat.\" By the time I first spoke with him in 2018, Howard’s monomaniacal, homespun podcast had begun to draw listening numbers in the thousands — and his guest list had moved into the heavy-hitters. Critics like \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-episode-89manohladargis\">Manohla Dargis\u003c/a> of the New York Times, \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-episode-147\">Matt Zoller Sietz\u003c/a> of RoberEbert.com: all showing up, over Skype, to hear Howard intone \"This is 'One Heat Minute'\" and talk enthusiastically about nothing but \"Heat\" for well over an hour each.\u003c/p>\n\u003cfigure id=\"attachment_11796786\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796786\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2.png\" alt=\"\" width=\"1900\" height=\"1163\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2.png 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-160x98.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-800x490.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-1020x624.png 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the \"Heat\" minutes progressed, and his podcast episodes climbed over 100, Howard started scoring guests who’d actually been involved in \u003cem>making\u003c/em> the movie. Like legendary cinematographer \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-episode-100\">Dante Spinotti\u003c/a>, who’d created those shots that Howard had grown up imprinting on his brain, and editor \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-bonuspasqualebuba\">Pasquale “Pat” Buba\u003c/a>, who appeared on \"One Heat Minute\" before his death in September 2018. \u003c/p>\n\u003cp>“I was thrilled every single week to talk to every new person or sometimes repeat guests,” says Howard, “because they were just so great.”\u003c/p>\n\u003cp>After our first chat for KQED, I even joined Howard’s band of fanatics on \"One Heat Minute\" myself. That’s me on \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-episode-148\">Episode 148\u003c/a> discussing the intricate progressions of Robert De Niro’s facial expressions. Coming off the Skype call with Howard, feeling almost drunk on the pleasures of discussing the minute details of a movie with which I’d been intimate since my teens, I was overwhelmed by how good such shared monomania could feel. I finally understood why he’d been able to secure so many guests.\u003c/p>\n\u003ch3>'All I Have is What I'm Going After'\u003c/h3>\n\u003cp>There was still that unfathomable dream in the back of Howard’s mind: scoring Michael Mann himself.\u003c/p>\n\u003cfigure id=\"attachment_11796575\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796575\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606.jpg\" alt=\"\" width=\"1900\" height=\"1410\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606.jpg 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-160x119.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-800x594.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-1020x757.jpg 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Director Michael Mann at the 2016 Academy Awards \u003ccite>( Jason Merritt / Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea that the award-winning director who made the movie that defined Howard’s entire life would even answer the phone — let alone sit down for an hour of taped conversation — still seemed crazy. Except for the fact that one of his \"One Heat Minute\" guests, \"Vulture\" critic Bilge Ebiri was on good terms with Mann — and was determined to lobby him on Howard’s behalf.\u003c/p>\n\u003cp>“I said ‘Even if he just knows about it, it would be great,’” says Howard. “But [Ebiri] is like ‘No: he's not only got to know about it, I'm going to tell him he has to do the show.”\u003c/p>\n\u003cp>Which is how, after much back-and-forth with the relevant representatives, on Episode 167, Michael Mann finally became Howard’s last \"One Heat Minute\" guest.\u003c/p>\n\u003ch3>'Very Flattered That You're Doing This'\u003c/h3>\n\u003cp>Were you nervous, I ask Howard? Knowing you had an hour with the man who’d made the movie that’s become the primary text of your life?\u003c/p>\n\u003cp>“In the \u003cem>before\u003c/em> moment, I was nervous,” he says. “I was mildly freaking out. But when we started talking I don't think I've ever been more confident in any interview that I've ever undertaken.”\u003c/p>\n\u003cp>“I was,” he reminds me, “the most prepared person to ever have a conversation about 'Heat' to Michael Mann.”\u003c/p>\n\u003cfigure id=\"attachment_11796573\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796573\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_.jpg\" alt=\"\" width=\"1900\" height=\"1277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_.jpg 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-800x538.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-1020x686.jpg 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Val Kilmer in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if you yourself \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-finale\">listen to the episode\u003c/a>, what will you hear? A famously obsessive filmmaker discussing his own movie \u003cem>about\u003c/em> obsessive men, with the guy who’s so obsessed with it that he’s based over 150 podcast episodes on it.\u003c/p>\n\u003cp>“I’m very flattered that you’re doing this,” are Mann’s first words in his episode, and you can hear the grin in his voice. When Howard asks about the director’s decision to appear on the podcast, the director explains that the whole endeavor \"sounded completely insane in a totally wonderful way.\"\u003c/p>\n\u003cp>On the subject of his work and his intentions, Mann is a serious, sincere interviewee who employs terms like “contrapuntal” when describing his cinematic output. “His recall for a movie that was made in 1995 and the character motivations and things that he'd had in mind for how that would look was just unbelievable,” notes Howard.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Yet in conversation, Mann’s sheer enthusiasm for movies, often overlooked amid his professional reputation as an extreme perfectionist, is also given free rein. Reminiscing about filming that powerful final \"Heat\" minute, where Pacino and De Niro’s characters face off in LAX and only one survives, Mann is uncharacteristically effusive: “It felt like ‘man, I don’t want to be anywhere else on Planet Earth at this moment in time but this set, making this movie.’”\u003c/p>\n\u003cp>In terms of dedication and enthusiasm, the award-winning longtime Hollywood director suddenly sounded a lot... like Howard himself.\u003c/p>\n\u003ch3>'Our Little Campfire'\u003c/h3>\n\u003cp>“I compliment your obsessions,” Mann told Howard in a message recorded for a \"One Heat Minute\" live show at the 2019 Sydney Film Festival.\u003c/p>\n\u003cp>“And from one of the most fastidious and obsessive filmmakers that has ever walked the face of the Earth to compliment your obsessions? That's pretty special,” says Howard. But after all that, where does obsession \u003cem>go\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11796552\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11796552\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee.png\" alt=\"\" width=\"1500\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee.png 1500w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-160x115.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-800x576.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-1020x734.png 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Blake Howard, appropriately dressed in Val Kilmer \"Heat\" t-shirt \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the conclusion of \"One Heat Minute,\" Howard is making even more podcasts about movies, including \"All the President’s Men\" (\"All the Presidents Minutes\") and Mann’s own \"Last of the Mohicans\" (\"The Last Twelve Minutes of the Mohicans\").\u003c/p>\n\u003cp>Yet \"One Heat Minute\" remains the fan project that a lot of people in Hollywood now know about. “For my name to be now synonymous with this movie is probably one of my greatest ever accomplishments” says Howard.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Podcasts themselves are little campfires that you can sort of huddle around,” Howard says. “Hopefully our little campfire has brought a lot of people... joy following along.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In Los Angeles, Number of Homeless Homicide Victims on the Rise",
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"content": "\u003cp>The number of homeless homicide victims in Los Angeles is on the rise. While 1% of the city’s population lives on the streets or in shelters, homeless people accounted for about 17% of its homicide victims during 2019.\u003c/p>\n\u003cp>Forty-two unhoused people have been the victims of homicide in 2019, according to the Los Angeles Police Department. That’s up from 39 in 2018 and 22 in 2016 — even as the overall number of homicides in the city has decreased in recent years.\u003c/p>\n\u003cp>People who live outdoors “are the most vulnerable people in our city to be victimized by crime,” said LAPD Commander and Homeless Coordinator Donald Graham. In about two-thirds of the homicides involving homeless victims in 2019, the suspects were also homeless.\u003c/p>\n\u003cp>So many strangers sharing sidewalks can lead to conflicts, Graham said.\u003c/p>\n\u003cp>“Everyone involved here is suffering from at least a minor form of PTSD,” he said. “When there is a fight over territory or property, all of that becomes so magnified. That’s what our detectives are seeing out there.”\u003c/p>\n\u003cp>The increase in homeless homicide victims has been tracked to an overall rise in homelessness.\u003c/p>\n\u003cp>[pullquote size='small' align='right' citation='Edna Contreras, whose brother Fred was killed on the streets of LA']“It said, ‘A homeless man was found on the sidewalk.’ He had a name.”[/pullquote]In 2019, the city of Los Angeles experienced a 16% jump in the number of people living on the streets, in cars or in shelters over the previous year, according to the latest count by the Los Angeles Homeless Services Authority, a city-county agency.\u003c/p>\n\u003cp>Overall, about 36,000 people are experiencing homelessness inside city limits.\u003c/p>\n\u003cp>“The ultimate solution to the homeless population’s safety is to house them,” said Graham.\u003c/p>\n\u003ch2>‘\u003cstrong>He Had a Name’\u003c/strong>\u003c/h2>\n\u003cp>One of those 42 homeless homicide victims was Fred Contreras Jr., or Freddy, as family and friends called him. He was 49, a Dodgers fan, a father and a grandfather.\u003c/p>\n\u003cp>Contreras’ body was found outside a post office in LA’s Echo Park neighborhood, near downtown, in March. His sister Edna Contreras remembered hearing about his death on local news.\u003c/p>\n\u003cp>[pullquote]While 1% of the city’s population lives on the streets or in shelters, homeless people accounted for about 17% of its homicide victims during 2019.[/pullquote]“It said, ‘A homeless man was found on the sidewalk,'” she recalled, shaking her head. “He had a name.”\u003c/p>\n\u003cp>Freddy Contreras died from blunt head trauma, according to the LA County medical examiner-coroner’s office, and the case was ruled a homicide.\u003c/p>\n\u003cp>To be sure, such violent attacks are only one of many physical risks that go along with living outdoors.\u003c/p>\n\u003ch2>\u003cstrong>Honoring the Dead\u003c/strong>\u003c/h2>\n\u003cp>To be sure, such violent attacks are only one of many physical risks that go along with living outdoors. A gathering inspired by the death of a young man named Ralph was held at LA’s Echo Park Lake, said Darius Derakshan, co-founder of SELAH Neighborhood Homeless Coalition, a group of mostly volunteers.\u003c/p>\n\u003cp>\u003cem>“\u003c/em>He had a medical condition, which, of course, living on the streets makes it very tough to treat,” Derakshan said. “We want to bring awareness to his life and make sure everybody knows that everyone’s life in this community is important.”\u003c/p>\n\u003cp>[aside tag='homelessness' label='Related Coverage']\u003c/p>\n\u003cp>Two of the event’s organizers held a banner displaying the names of 18 people who lived on the streets near Echo Park Lake and died in 2019. The banner also had pictures of some of the dead, including Contreras.\u003c/p>\n\u003cp>After a series of speeches, participants placed candlelit lanterns on the lake — one for each person listed on the banner. The little square lanterns clustered at the edge of the water instead of floating away. They represented a fraction of the city’s homeless homicide victims and an even smaller fraction of everyone who died unsheltered in and around LA in 2019.\u003c/p>\n\u003cp>Watching the proceedings nearby, Contreras’ sister Edna said she and her brother grew up in this neighborhood. She recalled their father once forcing them to release a pet turtle into this same lake.\u003c/p>\n\u003cp>“My brother didn’t want to let the turtle go,” she said. “I miss him so much every day. Every day.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 KCRW. To see more, visit \u003ca href=\"https://www.kcrw.com/\">KCRW\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Los+Angeles%2C+Number+Of+Homeless+Homicide+Victims+Rising&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003cspan style=\"font-weight: 400\">[ad fullwidth]\u003c/span>\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2019, the city of Los Angeles experienced a 16% jump in the number of people living on the streets, in cars or in shelters over the previous year, according to the latest count by the Los Angeles Homeless Services Authority, a city-county agency.\u003c/p>\n\u003cp>Overall, about 36,000 people are experiencing homelessness inside city limits.\u003c/p>\n\u003cp>“The ultimate solution to the homeless population’s safety is to house them,” said Graham.\u003c/p>\n\u003ch2>‘\u003cstrong>He Had a Name’\u003c/strong>\u003c/h2>\n\u003cp>One of those 42 homeless homicide victims was Fred Contreras Jr., or Freddy, as family and friends called him. He was 49, a Dodgers fan, a father and a grandfather.\u003c/p>\n\u003cp>Contreras’ body was found outside a post office in LA’s Echo Park neighborhood, near downtown, in March. His sister Edna Contreras remembered hearing about his death on local news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It said, ‘A homeless man was found on the sidewalk,'” she recalled, shaking her head. “He had a name.”\u003c/p>\n\u003cp>Freddy Contreras died from blunt head trauma, according to the LA County medical examiner-coroner’s office, and the case was ruled a homicide.\u003c/p>\n\u003cp>To be sure, such violent attacks are only one of many physical risks that go along with living outdoors.\u003c/p>\n\u003ch2>\u003cstrong>Honoring the Dead\u003c/strong>\u003c/h2>\n\u003cp>To be sure, such violent attacks are only one of many physical risks that go along with living outdoors. A gathering inspired by the death of a young man named Ralph was held at LA’s Echo Park Lake, said Darius Derakshan, co-founder of SELAH Neighborhood Homeless Coalition, a group of mostly volunteers.\u003c/p>\n\u003cp>\u003cem>“\u003c/em>He had a medical condition, which, of course, living on the streets makes it very tough to treat,” Derakshan said. “We want to bring awareness to his life and make sure everybody knows that everyone’s life in this community is important.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two of the event’s organizers held a banner displaying the names of 18 people who lived on the streets near Echo Park Lake and died in 2019. The banner also had pictures of some of the dead, including Contreras.\u003c/p>\n\u003cp>After a series of speeches, participants placed candlelit lanterns on the lake — one for each person listed on the banner. The little square lanterns clustered at the edge of the water instead of floating away. They represented a fraction of the city’s homeless homicide victims and an even smaller fraction of everyone who died unsheltered in and around LA in 2019.\u003c/p>\n\u003cp>Watching the proceedings nearby, Contreras’ sister Edna said she and her brother grew up in this neighborhood. She recalled their father once forcing them to release a pet turtle into this same lake.\u003c/p>\n\u003cp>“My brother didn’t want to let the turtle go,” she said. “I miss him so much every day. Every day.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 KCRW. To see more, visit \u003ca href=\"https://www.kcrw.com/\">KCRW\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Los+Angeles%2C+Number+Of+Homeless+Homicide+Victims+Rising&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"disqusTitle": "L.A. Pop-Up Turns Holiday Shopping Into Donations for Refugees",
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"content": "\u003cp>Just around the corner from Melrose Place in Los Angeles, a British charity \u003ca href=\"https://us.choose.love/pages/visit-stores\">has opened a pop-up shop\u003c/a> to offer a philanthropic twist on holiday shopping in the heart of a ritzy shopping district.\u003c/p>\n\u003cp>Inside the Choose Love store, shoppers can \u003ca href=\"https://us.choose.love/\">buy goods\u003c/a> — like diapers, tents and winter coats — on behalf of refugees elsewhere.\u003c/p>\n\u003cp>In essence, the items spread across three tables inside the pop-up are samples of what the nonprofit behind the store, \u003ca href=\"https://helprefugees.org/choose-love/\" target=\"_blank\" rel=\"noopener noreferrer\">Help Refugees\u003c/a>, then delivers to aid groups in Europe, the Middle East and along the U.S.-Mexico border. For shoppers, donations go farther here because of low overhead and distribution arrangements with aid groups. Prices in the shop start at $5. To buy absolutely everything in the store as a donation — 27 items valuable to refugees — it'd cost $865.\u003c/p>\n\u003cp>Help Refugees first opened a small holiday shop in London two years ago and in New York last year. This is its first year in California. The group says they’ve had 45,000 customers across the stores and distributed 1.6 million goods as a result of the holiday sales.\u003c/p>\n\u003cp>“Our motto is, 'Shop your heart out, and feel the love,'” says co-founder Josie Naughton. “People are being so generous. I feel like there’s a lot of love in Los Angeles.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a damp Sunday afternoon in L.A., a red-haired girl in rain boots and glasses runs into the glass-fronted store. Five-year-old Maxine Smith points out a plush animal to her mother, Learka Bosnak.\u003c/p>\n\u003cp>“A bunny!” she exclaims.\u003c/p>\n\u003cfigure id=\"attachment_11791968\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/2019/12/20/l-a-pop-up-turns-holiday-shopping-into-donations-for-refugees/rs40493_img_2872-qut/\" rel=\"attachment wp-att-11791968\">\u003cimg class=\"size-large wp-image-11791968\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-1020x1360.jpg\" alt=\"\" width=\"640\" height=\"853\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-900x1200.jpg 900w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-1122x1496.jpg 1122w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-840x1120.jpg 840w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-687x916.jpg 687w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-414x552.jpg 414w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-354x472.jpg 354w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut.jpg 1440w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Five-year-old Maxine Smith came into the Choose Love wanting a present for herself and eventually chose one for a refugee. \u003ccite>(Molly Peterson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it's not a toy and Maxine won't get to take the stuffed animal home. In this store, \"buying\" that bunny means paying for legal services to help reunite refugee families. Those services are symbolized by the bunny.\u003c/p>\n\u003cp>Bosnak asks Maxine if she knows what a refugee is. “A person that runs away because there’s a giant war there,” she says, with a slight guess in her voice.\u003c/p>\n\u003cp>Then Maxine sees a phone. “That’s cool,” she says. “I want to do that.”\u003c/p>\n\u003cp>Shop volunteer Alice Sloman tells Bosnak and her daughter that the phone is a good choice to give to refugees, but one donors infrequently opt for. Sloman says people tend to think of a cell phone as a luxury, when it’s actually a lifeline. A few years ago, an Afghan boy who almost died after crossing from the French port of Calais into England in a poorly ventilated truck \u003ca href=\"https://www.bbc.com/news/uk-35998273\">texted\u003c/a> Help Refugees with the words “no oxygen;” the cell phone saved his life.\u003c/p>\n\u003cp>“Lots of people do die from suffocation because they’re so desperate to get to the U.K. or any other safe county,” says Sloman. “Without having that mobile phone it’s likely that story could have had a really tragic ending.”\u003c/p>\n\u003cp>Refugees are increasingly being pushed from home by climate-driven disasters, \u003ca href=\"https://belonging.berkeley.edu/climaterefugees/executivesummary\">according to a report\u003c/a> from UC Berkeley’s Othering & Belonging Institute. Under those circumstances, they mostly lack legal protections. \u003ca href=\"https://www.npr.org/2019/06/09/730915564/crackdown-on-border-angels\">Other tensions,\u003c/a> like those between law enforcement and groups that deliver water to migrants along the U.S. Mexican border, have also risen in the last year.\u003c/p>\n\u003cp>“We're starting to recognize through things like climate change that it does not discriminate based on which side of the border you're on,” says James Turner, a co-founder of the creative collective, Glimpse, which helped conceive the holiday stores. “Whether it's refugees, whether it's homeless people in this country or whether it's people suffering economic inequality, everyone deserves a certain amount of dignity.”\u003c/p>\n\u003cp>This pop-up, he says, is an opportunity to turn our consumerist impulses into something that benefits others.\u003c/p>\n\u003cp>\"We need to get off this course that says we need to keep shopping for stuff every year, regardless of whether or not we have enough,\" he says.\u003c/p>\n\u003cp>A December opening party at the L.A. store drew celebrities, including actor Chris O’Dowd (whose wife, Dawn O’Porter, co-founded Help Refugees) and late-night host James Corden.\u003c/p>\n\u003cp>Comedian and TV host Matt Iseman says the shop reminds him of the Bill Murray movie 'Scrooged.' “[Murray] said, 'If you do some good, its going to feel so good you’re going to want that feeling everyday,'” he says. “We all should live by Bill Murray’s wise words.”\u003c/p>\n\u003cp>Help Refugees doesn’t promise an easy fix for the decades-long crisis. Instead the group is hoping to make humanitarian aid something more people can do more often and easier, by pricing goods from $5 and making it a part of holiday gift giving.\u003c/p>\n\u003cp>“I can tell this is an organization that is serious,” says shopper Shawnta Valdes, who bought the “bundle of warmth” package: firewood, blankets, hot food and warm clothes like gloves and a hat. She says a picture of a young girl wrapped in a foil blanket moved her to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“$55 felt do-able and felt equal to what I might spend on myself for pleasure,” says Valdes. “I like to think I would at least treat someone else as nice as I might treat myself.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just around the corner from Melrose Place in Los Angeles, a British charity \u003ca href=\"https://us.choose.love/pages/visit-stores\">has opened a pop-up shop\u003c/a> to offer a philanthropic twist on holiday shopping in the heart of a ritzy shopping district.\u003c/p>\n\u003cp>Inside the Choose Love store, shoppers can \u003ca href=\"https://us.choose.love/\">buy goods\u003c/a> — like diapers, tents and winter coats — on behalf of refugees elsewhere.\u003c/p>\n\u003cp>In essence, the items spread across three tables inside the pop-up are samples of what the nonprofit behind the store, \u003ca href=\"https://helprefugees.org/choose-love/\" target=\"_blank\" rel=\"noopener noreferrer\">Help Refugees\u003c/a>, then delivers to aid groups in Europe, the Middle East and along the U.S.-Mexico border. For shoppers, donations go farther here because of low overhead and distribution arrangements with aid groups. Prices in the shop start at $5. To buy absolutely everything in the store as a donation — 27 items valuable to refugees — it'd cost $865.\u003c/p>\n\u003cp>Help Refugees first opened a small holiday shop in London two years ago and in New York last year. This is its first year in California. The group says they’ve had 45,000 customers across the stores and distributed 1.6 million goods as a result of the holiday sales.\u003c/p>\n\u003cp>“Our motto is, 'Shop your heart out, and feel the love,'” says co-founder Josie Naughton. “People are being so generous. I feel like there’s a lot of love in Los Angeles.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a damp Sunday afternoon in L.A., a red-haired girl in rain boots and glasses runs into the glass-fronted store. Five-year-old Maxine Smith points out a plush animal to her mother, Learka Bosnak.\u003c/p>\n\u003cp>“A bunny!” she exclaims.\u003c/p>\n\u003cfigure id=\"attachment_11791968\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/2019/12/20/l-a-pop-up-turns-holiday-shopping-into-donations-for-refugees/rs40493_img_2872-qut/\" rel=\"attachment wp-att-11791968\">\u003cimg class=\"size-large wp-image-11791968\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-1020x1360.jpg\" alt=\"\" width=\"640\" height=\"853\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-900x1200.jpg 900w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-1122x1496.jpg 1122w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-840x1120.jpg 840w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-687x916.jpg 687w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-414x552.jpg 414w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut-354x472.jpg 354w, https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40493_IMG_2872-qut.jpg 1440w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Five-year-old Maxine Smith came into the Choose Love wanting a present for herself and eventually chose one for a refugee. \u003ccite>(Molly Peterson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it's not a toy and Maxine won't get to take the stuffed animal home. In this store, \"buying\" that bunny means paying for legal services to help reunite refugee families. Those services are symbolized by the bunny.\u003c/p>\n\u003cp>Bosnak asks Maxine if she knows what a refugee is. “A person that runs away because there’s a giant war there,” she says, with a slight guess in her voice.\u003c/p>\n\u003cp>Then Maxine sees a phone. “That’s cool,” she says. “I want to do that.”\u003c/p>\n\u003cp>Shop volunteer Alice Sloman tells Bosnak and her daughter that the phone is a good choice to give to refugees, but one donors infrequently opt for. Sloman says people tend to think of a cell phone as a luxury, when it’s actually a lifeline. A few years ago, an Afghan boy who almost died after crossing from the French port of Calais into England in a poorly ventilated truck \u003ca href=\"https://www.bbc.com/news/uk-35998273\">texted\u003c/a> Help Refugees with the words “no oxygen;” the cell phone saved his life.\u003c/p>\n\u003cp>“Lots of people do die from suffocation because they’re so desperate to get to the U.K. or any other safe county,” says Sloman. “Without having that mobile phone it’s likely that story could have had a really tragic ending.”\u003c/p>\n\u003cp>Refugees are increasingly being pushed from home by climate-driven disasters, \u003ca href=\"https://belonging.berkeley.edu/climaterefugees/executivesummary\">according to a report\u003c/a> from UC Berkeley’s Othering & Belonging Institute. Under those circumstances, they mostly lack legal protections. \u003ca href=\"https://www.npr.org/2019/06/09/730915564/crackdown-on-border-angels\">Other tensions,\u003c/a> like those between law enforcement and groups that deliver water to migrants along the U.S. Mexican border, have also risen in the last year.\u003c/p>\n\u003cp>“We're starting to recognize through things like climate change that it does not discriminate based on which side of the border you're on,” says James Turner, a co-founder of the creative collective, Glimpse, which helped conceive the holiday stores. “Whether it's refugees, whether it's homeless people in this country or whether it's people suffering economic inequality, everyone deserves a certain amount of dignity.”\u003c/p>\n\u003cp>This pop-up, he says, is an opportunity to turn our consumerist impulses into something that benefits others.\u003c/p>\n\u003cp>\"We need to get off this course that says we need to keep shopping for stuff every year, regardless of whether or not we have enough,\" he says.\u003c/p>\n\u003cp>A December opening party at the L.A. store drew celebrities, including actor Chris O’Dowd (whose wife, Dawn O’Porter, co-founded Help Refugees) and late-night host James Corden.\u003c/p>\n\u003cp>Comedian and TV host Matt Iseman says the shop reminds him of the Bill Murray movie 'Scrooged.' “[Murray] said, 'If you do some good, its going to feel so good you’re going to want that feeling everyday,'” he says. “We all should live by Bill Murray’s wise words.”\u003c/p>\n\u003cp>Help Refugees doesn’t promise an easy fix for the decades-long crisis. 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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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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.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "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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"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
