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"content": "\u003cp>The 2000 film “Erin Brockovich” was a triumphant David versus Goliath story. A single mother of three took on PG&E for contaminating drinking water in Hinkley, California, and emerged victorious, suing and winning $333 million from the utility giant. But whatever became of the real-life town of Hinkley?\u003c/p>\n\u003cp>For the roughly 600 residents who received part of that payout, the ending wasn’t all happy. Residents who lived there in the ‘90s, such as Roberta Walker, say they suffer from residual health problems. And while they can’t disclose how much money they received from the lawsuit, they say it wasn’t enough to keep them afloat for long. Now, 21 years after the lawsuit, it seems the same public health hazard continues to affect the welfare of Hinkley residents.\u003c/p>\n\u003cp>A film by Débora Silva.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cfigure id=\"attachment_2921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-2921\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/WATERTOWN_thumbnail_1200X630-800x420.png\" alt=\"\" width=\"800\" height=\"420\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/WATERTOWN_thumbnail_1200X630-800x420.png 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/WATERTOWN_thumbnail_1200X630-160x84.png 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/WATERTOWN_thumbnail_1200X630-768x403.png 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/WATERTOWN_thumbnail_1200X630-1020x536.png 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/WATERTOWN_thumbnail_1200X630-1200x630.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">City of Weed, CA\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.pbs.org/video/water-town-truly-ca-hfyha4/\">Watch 'Water Town' here.\u003c/a>\u003c/p>\n\u003cp>For 100 years, the City of Weed, California, has piped pristine water from a spring on Mount Shasta directly to its homes. The spring is on land owned by a timber company, however, which claims the water right – and says it will no longer provide water to the town. Meanwhile, the company sells water to Crystal Geyser for export to Japan.\u003c/p>\n\u003cp>\u003ci>Water Town\u003c/i> follows the current and three former mayors on their quest to win the spring water back from the corporations they believe are stealing it from them. Offbeat humor sets the tone for a David and Goliath battle, challenging the viewer to consider whether water is a right or a commodity.\u003c/p>\n\u003cp>\u003cstrong>Director Statement\u003c/strong>\u003c/p>\n\u003cp>There’s a water conflict in every town in America.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Weed, CA, a town faces the threat of losing access to the water it’s relied on since its founding over a hundred years ago, while a Japanese pharmaceutical company, an infamous French billionaire and a lumber mill reap private profit from it. The absurdity lies in the fact that our State manages water in such a way as to permit this.\u003c/p>\n\u003cp>The corporations involved may simply be conducting business as usual. But is it an effective regulatory system that allows the profits from a region’s single natural resource to go to a group of billion-dollar companies while the local community is left with nothing?\u003c/p>\n\u003cp>Water privatization is a complex issue that threatens communities everywhere. When water is managed as a commodity, profit is necessarily prioritized over public interest. It’s important to spotlight how this plays out in individual cities to shed light on the varied, far-reaching risks and consequences.\u003c/p>\n\u003cp>After “Water Town” was completed in late 2016, Roseburg Forest Products (owner of the Weed lumber mill) sued nine Weed residents (most of whom appear in the film) for speaking out against them. In response, James Wheaton, a leading CA water attorney and legal advisor to the film, stepped up to represent the citizens pro bono. While he won the initial hearing, Roseburg appealed and the case is ongoing.\u003c/p>\n\u003cp>As cities and towns across the country face similar threats to their water supplies – and to their First Amendment rights – we hope that the film will inspire communities to join together to begin addressing these issues collectively.\u003c/p>\n\u003cfigure id=\"attachment_2917\" class=\"wp-caption alignnone\" style=\"max-width: 325px\">\u003cimg class=\" wp-image-2917\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/WATERTOWN_MayaCraig_headshot-800x1020.jpg\" alt=\"\" width=\"325\" height=\"394\">\u003cfigcaption class=\"wp-caption-text\">Watertown Director - Maya Craig\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">Maya Craig is a documentary filmmaker\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\"> and freelance d\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">irector of \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">p\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">hotography\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\"> based in San Francisco. After working in environmental \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">science\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\"> for \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">a number of\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\"> years, Maya transitioned into film production in 2010 with the goal of bringing awareness to environmental issues through nonfiction storytelling. She's worked on feature documentaries with Jigsaw Productions and Berkeley’s Investigative Reporting Program, and produced broadcast content for creative agencies \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"SpellingError SCXW46084384 BCX0\">Mekanism\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\"> and Butler, Shine, Stern and Partners. \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">In 2018, she established the west coast production company \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">Neighbor\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_2921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-2921\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/WATERTOWN_thumbnail_1200X630-800x420.png\" alt=\"\" width=\"800\" height=\"420\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/WATERTOWN_thumbnail_1200X630-800x420.png 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/WATERTOWN_thumbnail_1200X630-160x84.png 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/WATERTOWN_thumbnail_1200X630-768x403.png 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/WATERTOWN_thumbnail_1200X630-1020x536.png 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/WATERTOWN_thumbnail_1200X630-1200x630.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">City of Weed, CA\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.pbs.org/video/water-town-truly-ca-hfyha4/\">Watch 'Water Town' here.\u003c/a>\u003c/p>\n\u003cp>For 100 years, the City of Weed, California, has piped pristine water from a spring on Mount Shasta directly to its homes. The spring is on land owned by a timber company, however, which claims the water right – and says it will no longer provide water to the town. Meanwhile, the company sells water to Crystal Geyser for export to Japan.\u003c/p>\n\u003cp>\u003ci>Water Town\u003c/i> follows the current and three former mayors on their quest to win the spring water back from the corporations they believe are stealing it from them. Offbeat humor sets the tone for a David and Goliath battle, challenging the viewer to consider whether water is a right or a commodity.\u003c/p>\n\u003cp>\u003cstrong>Director Statement\u003c/strong>\u003c/p>\n\u003cp>There’s a water conflict in every town in America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Weed, CA, a town faces the threat of losing access to the water it’s relied on since its founding over a hundred years ago, while a Japanese pharmaceutical company, an infamous French billionaire and a lumber mill reap private profit from it. The absurdity lies in the fact that our State manages water in such a way as to permit this.\u003c/p>\n\u003cp>The corporations involved may simply be conducting business as usual. But is it an effective regulatory system that allows the profits from a region’s single natural resource to go to a group of billion-dollar companies while the local community is left with nothing?\u003c/p>\n\u003cp>Water privatization is a complex issue that threatens communities everywhere. When water is managed as a commodity, profit is necessarily prioritized over public interest. It’s important to spotlight how this plays out in individual cities to shed light on the varied, far-reaching risks and consequences.\u003c/p>\n\u003cp>After “Water Town” was completed in late 2016, Roseburg Forest Products (owner of the Weed lumber mill) sued nine Weed residents (most of whom appear in the film) for speaking out against them. In response, James Wheaton, a leading CA water attorney and legal advisor to the film, stepped up to represent the citizens pro bono. While he won the initial hearing, Roseburg appealed and the case is ongoing.\u003c/p>\n\u003cp>As cities and towns across the country face similar threats to their water supplies – and to their First Amendment rights – we hope that the film will inspire communities to join together to begin addressing these issues collectively.\u003c/p>\n\u003cfigure id=\"attachment_2917\" class=\"wp-caption alignnone\" style=\"max-width: 325px\">\u003cimg class=\" wp-image-2917\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/WATERTOWN_MayaCraig_headshot-800x1020.jpg\" alt=\"\" width=\"325\" height=\"394\">\u003cfigcaption class=\"wp-caption-text\">Watertown Director - Maya Craig\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">Maya Craig is a documentary filmmaker\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\"> and freelance d\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">irector of \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">p\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">hotography\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\"> based in San Francisco. After working in environmental \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">science\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\"> for \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">a number of\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\"> years, Maya transitioned into film production in 2010 with the goal of bringing awareness to environmental issues through nonfiction storytelling. She's worked on feature documentaries with Jigsaw Productions and Berkeley’s Investigative Reporting Program, and produced broadcast content for creative agencies \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"SpellingError SCXW46084384 BCX0\">Mekanism\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\"> and Butler, Shine, Stern and Partners. \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">In 2018, she established the west coast production company \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">Neighbor\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW46084384 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW46084384 BCX0\">. 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"content": "\u003cp>\u003cspan class=\"TextRun SCXW37035505 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW37035505 BCX0\">In Oakland, California, a small Guatemalan indigenous community has formed around a church led by Pastor Gomez.\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW37035505 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW37035505 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW37035505 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW37035505 BCX0\">Through underground connection networks, the pastor learns of immigrants being released in Oakland.\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW37035505 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW37035505 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW37035505 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW37035505 BCX0\">When they have nowhere to go, he rents a room for them to stay at a local motel where he works.\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW37035505 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW37035505 BCX0\"> With no money and no certainty of what lies ahead, these travel-weary migrants come to the motel to eat and rest and prepare for the next day. This film depicts individuals on the day of their release. \u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW37035505 BCX0\"> \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Director Statement\u003c/strong>\u003c/p>\n\u003cp>My parents came to the United States from Mexico in the 1970s. Much of my work has dealt with the dual identity of being a first generation American, and it was important for me to go back further to explore migration stories, particularly in this political and social climate.\u003c/p>\n\u003cp>On one day of filming, the individual I would be working with that day was already in the hotel room, waiting for me. I arrived and set up, and she sat on a couch. Before even rolling, she started to tell me her story.\u003c/p>\n\u003cp>In pursuing this project, I wanted to represent voices that are silenced or unheard because they are deemed insignificant. I am so honored that participants trusted me with their stories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In selecting the excerpts in this film, I wanted to give depth and complexity to “stereotypes” who we see in the news and media and represent individuals going through an extreme transition. Apart from their specific situation: crossing the border, only to be detained for seeking asylum, there is a universal connection to anyone who has been through a difficult transition. The feeling of limbo, separation from loved ones, hunger and cold are issues that transcend gender, race, or ethnicity.\u003c/p>\n\u003cfigure id=\"attachment_2911\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-2911\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/K74A5046_Sundance-2019_Priscilla-Gonzalez-Sainz_priscillagonzalezsainz@gmail.com_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/K74A5046_Sundance-2019_Priscilla-Gonzalez-Sainz_priscillagonzalezsainz@gmail.com_-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/K74A5046_Sundance-2019_Priscilla-Gonzalez-Sainz_priscillagonzalezsainz@gmail.com_-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/K74A5046_Sundance-2019_Priscilla-Gonzalez-Sainz_priscillagonzalezsainz@gmail.com_-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/K74A5046_Sundance-2019_Priscilla-Gonzalez-Sainz_priscillagonzalezsainz@gmail.com_-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/K74A5046_Sundance-2019_Priscilla-Gonzalez-Sainz_priscillagonzalezsainz@gmail.com_-1200x800.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Room 140 Director - Priscilla Gonzalez Sainz\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">Priscilla González Sainz is a Mexican-American filmmaker based in Southern California. Her work focuses on first-generation and women’s stories and themes of displacement and identity. Priscilla recently earned her MFA in Documentary Film and Video from Stanford University, where she was awarded a Stanford Arts grant and curated the Latin American Cinema series \u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"SpellingError SCXW71630624 BCX0\">Espejos\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">. Her thesis film ROOM 140 was a Student Academy Award Semifinalist and was nominated for the IDA Wolper Student Documentary A\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">chievement A\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">ward. Her films have \u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">garnered recognition and screened at various film festivals including \u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">AFI Docs, Full Frame, Big Sky, Palm Springs \u003c/span>\u003cspan class=\"SpellingError SCXW71630624 BCX0\">ShortFest\u003c/span>\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">, Los Angeles Film Festival, New Orleans Film Festival and more. \u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">She is currently in production on Tribeca-supported “Untitled Immigration Lawyer Documentary.” \u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW71630624 BCX0\"> \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Crew \u003c/strong>\u003c/p>\n\u003cp>Directed, produced, and edited by Priscilla Gonzalez Sainz.\u003c/p>\n\u003cp>Sound: Leonor Zúniga Gutiérrez, Cheng Zhang, Chris Ward.\u003c/p>\n\u003cp>Additional Camera: Chris Ward\u003c/p>\n\u003cp>Technical Assistance: Paul Meyers, Mark Urbanek.\u003c/p>\n\u003cp>Faculty Advisors: Srdan Keca, Jan Krawitz, Jamie Meltzer.\u003c/p>\n\u003cp>Composer: Matthew Fishel\u003c/p>\n\u003cp>Sound Mix: Dan Olmsted\u003c/p>\n\u003cp>Colorist: Mark Sterne\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Special thanks to my cohort: Olivia A. Booker, Dane Christensen, Sam Ellison, Leonor Zúniga Gutiérrez, Puck Lo, Lyntoria Newton, Aria Swarr.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In selecting the excerpts in this film, I wanted to give depth and complexity to “stereotypes” who we see in the news and media and represent individuals going through an extreme transition. Apart from their specific situation: crossing the border, only to be detained for seeking asylum, there is a universal connection to anyone who has been through a difficult transition. The feeling of limbo, separation from loved ones, hunger and cold are issues that transcend gender, race, or ethnicity.\u003c/p>\n\u003cfigure id=\"attachment_2911\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-2911\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/04/K74A5046_Sundance-2019_Priscilla-Gonzalez-Sainz_priscillagonzalezsainz@gmail.com_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2019/04/K74A5046_Sundance-2019_Priscilla-Gonzalez-Sainz_priscillagonzalezsainz@gmail.com_-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/K74A5046_Sundance-2019_Priscilla-Gonzalez-Sainz_priscillagonzalezsainz@gmail.com_-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/K74A5046_Sundance-2019_Priscilla-Gonzalez-Sainz_priscillagonzalezsainz@gmail.com_-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/K74A5046_Sundance-2019_Priscilla-Gonzalez-Sainz_priscillagonzalezsainz@gmail.com_-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2019/04/K74A5046_Sundance-2019_Priscilla-Gonzalez-Sainz_priscillagonzalezsainz@gmail.com_-1200x800.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Room 140 Director - Priscilla Gonzalez Sainz\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">Priscilla González Sainz is a Mexican-American filmmaker based in Southern California. Her work focuses on first-generation and women’s stories and themes of displacement and identity. Priscilla recently earned her MFA in Documentary Film and Video from Stanford University, where she was awarded a Stanford Arts grant and curated the Latin American Cinema series \u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"SpellingError SCXW71630624 BCX0\">Espejos\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">. Her thesis film ROOM 140 was a Student Academy Award Semifinalist and was nominated for the IDA Wolper Student Documentary A\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">chievement A\u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">ward. Her films have \u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">garnered recognition and screened at various film festivals including \u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">AFI Docs, Full Frame, Big Sky, Palm Springs \u003c/span>\u003cspan class=\"SpellingError SCXW71630624 BCX0\">ShortFest\u003c/span>\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">, Los Angeles Film Festival, New Orleans Film Festival and more. \u003c/span>\u003c/span>\u003cspan class=\"TextRun Highlight SCXW71630624 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW71630624 BCX0\">She is currently in production on Tribeca-supported “Untitled Immigration Lawyer Documentary.” \u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW71630624 BCX0\"> \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Crew \u003c/strong>\u003c/p>\n\u003cp>Directed, produced, and edited by Priscilla Gonzalez Sainz.\u003c/p>\n\u003cp>Sound: Leonor Zúniga Gutiérrez, Cheng Zhang, Chris Ward.\u003c/p>\n\u003cp>Additional Camera: Chris Ward\u003c/p>\n\u003cp>Technical Assistance: Paul Meyers, Mark Urbanek.\u003c/p>\n\u003cp>Faculty Advisors: Srdan Keca, Jan Krawitz, Jamie Meltzer.\u003c/p>\n\u003cp>Composer: Matthew Fishel\u003c/p>\n\u003cp>Sound Mix: Dan Olmsted\u003c/p>\n\u003cp>Colorist: Mark Sterne\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Special thanks to my cohort: Olivia A. Booker, Dane Christensen, Sam Ellison, Leonor Zúniga Gutiérrez, Puck Lo, Lyntoria Newton, Aria Swarr.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chris Francis is equal parts artist and designer. His extraordinary shoes made from found materials have been featured in magazines like \u003ca href=\"https://www.vogue.com/article/chris-francis-shoe-designer-lovecraft-leather\">\u003cem>Vogue\u003c/em>\u003c/a> and have also been presented as objets d’art in major museums. This short documentary \u003cem>Chris Francis: Shoes\u003c/em> provides a snapshot of the year following his first museum exhibition at Craft Contemporary in Los Angeles and on to a major footwear convention where he feels pressure to reconcile his two identities.\u003c/p>\n\u003cp>\u003cstrong>Director Statement\u003c/strong>\u003c/p>\n\u003cp>For quite some time Chris and I talked about a film about his childhood in Kokomo Indiana, growing up among the relics of the steel factories.However, after several years of not being in touch with Chris he invited me to his small shoe making studio, at the time in DT LA. When I saw the space, filled with his shoes, drawings of his shoes, old machinery used to make his shoes, and listened to him speak about his views and process of making his shoes. I knew then that this was the film I was going to make about Chris.\u003c/p>\n\u003cp>Naturally its not easy to be the subject of a film, especially when one has extreme social anxieties from which Chris suffers. However it is Chris’great testimony to courage that he is able to overcome and convey his authentic self and true nature.As a film maker, I am thrilled to have such a subject be so open. But more importantly, as a friend of Chris’ and knowing him the way I do, I am most proud that he set aside his extreme unease with being in front of the camera and share himself with all of us.\u003c/p>\n\u003cfigure id=\"attachment_2890\" class=\"wp-caption alignnone\" style=\"max-width: 352px\">\u003cimg class=\" wp-image-2890\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/03/Virginia_Lee_Hunter-800x829.jpg\" alt=\"\" width=\"352\" height=\"399\">\u003cfigcaption class=\"wp-caption-text\">Chris Francis: Shoes Director - Virginia Lee Hunter\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Virginia Lee Hunter is an award winning photo-journalist who’s career began in Los Angeles in the late eighties working for the venerable LA Weekly. Assignments took her into homes of LA’s most unique, off beat talents, and into back alleys capturing the most down trodden during the beginning of the meth crisis. During her tenure, she also covered the LA Riots and several of the natural disasters during the 90’s. Beyond the Weekly’s assignments she also worked for labor organizations and environmental groups such as Greenpeace, and other various media, both nationally and internationally.\u003c/p>\n\u003cp>Hunter transitioned to film making with her first documentary CARNY in 2006, a collaboration with Canadian filmmaker Alison Murray. CARNY was inspired by Hunter’s photo book,CARNY: Americana on the Midway, published by Umbrage Press. She has worked on a number of documentaries, ‘Fambul Tok', ‘The Source’, and‘Folk’. ‘Tumbling from the Mountain of Truth; the art of Anselm Spring’ is Hunter’s first solo film, about German artist Anselm Spring who lives in remote part of Utah.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"disqusTitle": "But I Love the Zine",
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"content": "\u003cfigure id=\"attachment_2883\" class=\"wp-caption alignnone\" style=\"max-width: 431px\">\u003cimg class=\" wp-image-2883\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/03/Jeffrey-Cheung-800x448.jpg\" alt=\"\" width=\"431\" height=\"237\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Cheung & Gabriel Ramirez: Unity Press\u003c/figcaption>\u003c/figure>\n\u003cp>If you think the digital age destroyed print culture, this short documentary may surprise you. \u003cem>But I Love The Zine\u003c/em> explores the thriving zine scene in the San Francisco Bay Area. To devotees, zines are more than just self-made publications, they're tools for building community and offer an antidote to the disconnectedness of internet culture. In this film, viewers are taken to studios, galleries, and zine conventions where they're introduced to a dynamic small press community. Publishers like Jeffrey Cheung (\u003cem>Unity Press\u003c/em>), V. Vale (\u003cem>Re/Search\u003c/em>), Tiny Splendor, and Jess Wu (\u003cem>Mixed Rice Zine\u003c/em>), share their process and explain why self-publishing matters.\u003c/p>\n\u003cp>\u003cstrong>Director Statement\u003c/strong>\u003c/p>\n\u003cp>I’ve always been drawn to the unique art scene and the passionate creators that permeate the Bay Area. But it was with great surprise if not shock, that I saw myself pictured on the cover of Zine at a festival in San Francisco! Unknown to me, the creator had photographed my responses to his first tattoo and made that into Zine: \u003cem>Look Mum My First Tattoo\u003c/em>. It was a very personal moment that ignited my desire to find out more.\u003c/p>\n\u003cp>I set out to discover what these self-made, intimate booklets and zine culture are all about telling the story through my relationship with my son Raphael, the owner of the tattoo, and through the many talented zine makers in the Bay Area. I wanted to convey the importance of these cheaply-hand-made, very personal pieces full of thoughts and dreams at a time when digital communication and social media are taking over.\u003c/p>\n\u003cp>I spent a lot of time at Zine festivals shooting people ensconced as they flipped through zines. With a DSLR, I moved easily around these vibrant crowds where there is an eclectic mass of people of all ages and cultures in all kinds of attire and bodily marks. I sometimes had the camera on sticks but more often than not I found freedom in just hand holding and moving quietly through crowds while trying to shoot tight on faces and Zines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I interviewed in Zine makers’ spaces–bedrooms, tiny print shops above book shops–which are colorful spaces crammed with artwork and sometimes noisy risographs!It was important to include an interview with a curator at a traditional art institution to get an outsider’s perspective. I spent over 6 months reaching out to various people and organizations–sometimes I never heard back, but mostly I received polite rejections. Finally I gained access to a very insightful curator at the Oakland Museum where we were able to do the shoot on location.\u003c/p>\n\u003cp>Post production turned out to be far more intense that I had anticipated. My editor, Kat, was highly motivated with great energy and lots of ideas and she really wanted to add a hand-made look to the whole production. In fact we didn’t do any traditional, digital lower thirds, captions. Every name and title was typed out, cutout,and then photographed at different points to create a stop motion style.\u003c/p>\n\u003cp>But she really put me to the test when she talked me into making a zine for the credits! My hope in showing the documentary at different screenings and festivals, and through KQED, is that audiences will gain an understanding of what zines are and the power they hold to communicate personal thoughts to wide audiences without using social media platforms.\u003c/p>\n\u003cfigure id=\"attachment_2878\" class=\"wp-caption alignnone\" style=\"max-width: 286px\">\u003cimg class=\" wp-image-2878\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/03/FionaMcDougall.png\" alt=\"\" width=\"286\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">But I Love The Zine Director - Fiona McDougall\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">In her roles as both Creative Services Director and Video Producer at OneWorld, Fiona\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">oversees and coordinates all media production: TV broadcast PSAs and digital informational\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">and educational videos, radio, print, photography, \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">digital\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">. Many of the campaigns she\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">has produced incorporate all these media and she has produced them in Spanish,\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">Cantonese, and Mandarin, among other languages. 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creating budgets, schedules; putting together the team:\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">director photography (DP), scriptwriter, director etc.; identifying talent and locations, identifying the types of\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">cameras to be used for the look, overseeing the field production and overseeing editing, music, audio, and special\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">effects. \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">Her most recent project, \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">But I Love the Zine\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">, was \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">nominated in \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">the \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">Short Doc category \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">in the O\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">regon Film Festival\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">, 2019.\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"EOP SCXW258139964 BCX0\"> \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Cast\u003c/strong>\u003c/p>\n\u003cp>V.Vale: Writer, Independent, Publisher\u003c/p>\n\u003cp>Jess Wu-O: Mixed Rice Zines\u003c/p>\n\u003cp>Max Stadnik & Sanaa Khan: Tiny Splendor\u003c/p>\n\u003cp>Raphael Villet : Play Press Zines\u003c/p>\n\u003cp>Jeffrey Cheung & Gabriel Ramirez: Unity Press\u003c/p>\n\u003cp>Carin Adams: Curator of Art, Oakland Museum of California\u003c/p>\n\u003cp>\u003cstrong>Crew\u003c/strong>\u003c/p>\n\u003cp>Produced and Directed by Fiona McDougall\u003c/p>\n\u003cp>Script: Fiona McDougall\u003c/p>\n\u003cp>Consulting Scriptwriter: Jonathan Villet\u003c/p>\n\u003cp>Camera: Fiona McDougall, Cliff Traiman, Khaboshi Imbukwa\u003c/p>\n\u003cp>Editor & Art Director: Kat Cory\u003c/p>\n\u003cp>Sound Mixer & Designer: Thayer Walker\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Audio Post: Lowdownhaus\u003c/p>\n\n",
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"excerpt": "'But I Love The Zine' is a short documentary exploring the thriving zine scene in the Bay Area. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_2883\" class=\"wp-caption alignnone\" style=\"max-width: 431px\">\u003cimg class=\" wp-image-2883\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/03/Jeffrey-Cheung-800x448.jpg\" alt=\"\" width=\"431\" height=\"237\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Cheung & Gabriel Ramirez: Unity Press\u003c/figcaption>\u003c/figure>\n\u003cp>If you think the digital age destroyed print culture, this short documentary may surprise you. \u003cem>But I Love The Zine\u003c/em> explores the thriving zine scene in the San Francisco Bay Area. To devotees, zines are more than just self-made publications, they're tools for building community and offer an antidote to the disconnectedness of internet culture. In this film, viewers are taken to studios, galleries, and zine conventions where they're introduced to a dynamic small press community. Publishers like Jeffrey Cheung (\u003cem>Unity Press\u003c/em>), V. Vale (\u003cem>Re/Search\u003c/em>), Tiny Splendor, and Jess Wu (\u003cem>Mixed Rice Zine\u003c/em>), share their process and explain why self-publishing matters.\u003c/p>\n\u003cp>\u003cstrong>Director Statement\u003c/strong>\u003c/p>\n\u003cp>I’ve always been drawn to the unique art scene and the passionate creators that permeate the Bay Area. But it was with great surprise if not shock, that I saw myself pictured on the cover of Zine at a festival in San Francisco! Unknown to me, the creator had photographed my responses to his first tattoo and made that into Zine: \u003cem>Look Mum My First Tattoo\u003c/em>. It was a very personal moment that ignited my desire to find out more.\u003c/p>\n\u003cp>I set out to discover what these self-made, intimate booklets and zine culture are all about telling the story through my relationship with my son Raphael, the owner of the tattoo, and through the many talented zine makers in the Bay Area. I wanted to convey the importance of these cheaply-hand-made, very personal pieces full of thoughts and dreams at a time when digital communication and social media are taking over.\u003c/p>\n\u003cp>I spent a lot of time at Zine festivals shooting people ensconced as they flipped through zines. With a DSLR, I moved easily around these vibrant crowds where there is an eclectic mass of people of all ages and cultures in all kinds of attire and bodily marks. I sometimes had the camera on sticks but more often than not I found freedom in just hand holding and moving quietly through crowds while trying to shoot tight on faces and Zines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I interviewed in Zine makers’ spaces–bedrooms, tiny print shops above book shops–which are colorful spaces crammed with artwork and sometimes noisy risographs!It was important to include an interview with a curator at a traditional art institution to get an outsider’s perspective. I spent over 6 months reaching out to various people and organizations–sometimes I never heard back, but mostly I received polite rejections. Finally I gained access to a very insightful curator at the Oakland Museum where we were able to do the shoot on location.\u003c/p>\n\u003cp>Post production turned out to be far more intense that I had anticipated. My editor, Kat, was highly motivated with great energy and lots of ideas and she really wanted to add a hand-made look to the whole production. In fact we didn’t do any traditional, digital lower thirds, captions. Every name and title was typed out, cutout,and then photographed at different points to create a stop motion style.\u003c/p>\n\u003cp>But she really put me to the test when she talked me into making a zine for the credits! My hope in showing the documentary at different screenings and festivals, and through KQED, is that audiences will gain an understanding of what zines are and the power they hold to communicate personal thoughts to wide audiences without using social media platforms.\u003c/p>\n\u003cfigure id=\"attachment_2878\" class=\"wp-caption alignnone\" style=\"max-width: 286px\">\u003cimg class=\" wp-image-2878\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2019/03/FionaMcDougall.png\" alt=\"\" width=\"286\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">But I Love The Zine Director - Fiona McDougall\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">In her roles as both Creative Services Director and Video Producer at OneWorld, Fiona\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">oversees and coordinates all media production: TV broadcast PSAs and digital informational\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">and educational videos, radio, print, photography, \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">digital\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">. Many of the campaigns she\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">has produced incorporate all these media and she has produced them in Spanish,\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">Cantonese, and Mandarin, among other languages. Her work involves carrying out research\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">and meeting with clients to understand their programs and goals; contributing to strategy\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">and creative briefs; overseeing treatments and scripts, ensuring that they address all client\u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\"> \u003c/span>\u003c/span>\u003cspan class=\"TextRun SCXW258139964 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\">\u003cspan class=\"NormalTextRun SCXW258139964 BCX0\">goals and will be effective in achieving required results; 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"disqusTitle": "Hale",
"title": "Hale",
"headTitle": "Season 13 | Truly CA | Truly CA | KQED Arts",
"content": "\u003cp>\u003cimg class=\"alignnone size-medium wp-image-2318\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/05/Hale1-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1-800x544.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1-160x109.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1-768x522.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1.jpg 960w, https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1-240x163.jpg 240w, https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1-375x255.jpg 375w, https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1-520x354.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hale Zukas, 73, has had cerebral palsy since birth. A student at UC Berkeley during the height of '60s activism, Zukas became one of the founders of the disability rights movement. Much of the urban accessibility that we now take for granted, such as public transportation ramps and sidewalk dips, are a direct result of his efforts. He was one of the founding members of \u003cstrong>The\u003c/strong> \u003cstrong>Center for Independent Living in Berkeley\u003c/strong>, the first organization of its kind to provide advocacy and opportunity for people with disabilities.\u003c/p>\n\u003cp>\u003cem>Hale\u003c/em> chronicles Hale Zukas' battle towards empowerment and explores how his work has impacted the lives of disabled people worldwide. The disabled rights movement is a story that has often been a footnote when examining civil rights groups of the 1960s. This film seeks to change that.\u003c/p>\n\u003cfigure id=\"attachment_2485\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-2485 size-medium\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/06/FullSizeRender-3-copy-800x564.jpg\" alt=\"\" width=\"800\" height=\"564\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-800x564.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-160x113.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-768x542.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-1020x719.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-1200x846.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-1180x832.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-960x677.jpg 960w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-240x169.jpg 240w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-375x264.jpg 375w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-520x367.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hale Director - Brad Bailey\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Statement\u003c/strong>\u003c/p>\n\u003cp>\"I first met Hale Zukas one day when he came to the Journalism School to attend a film screening. He has been a Berkeley institution for decades. It’s common in the city to see him zooming through the streets, in his wheelchair, on his way to an activity or meeting. When I got to know him, I found out about his remarkable history and one day I ran across a plaque in his honor at the Ashby Rail Station in Berkeley, California. I then realized that Hale had been a crucial link in a movement, started in Berkeley in the 1970s, that is responsible for changing how the world looks at the issue of disability. Many things that we take for granted today- from curb cuts to ramps, and laws protecting disability rights all started from the early work of Hale and others here in Berkeley in the 1970s. Further, Hale is still advocating for disability rights through policy while advising San Francisco Bay Area leaders on accessibility. He is also a living embodiment of independent living. In the film, we chronicle the range of daily activities he undergoes, from comedy shows to movies, despite tremendous challenges. In the film, I speak with Zona Roberts, the 97-year-old mother of disability icon Ed Roberts and Judy Heumann, who was appointed by President Clinton and President Obama to lead disability and Special Education issues throughout the nation. In addition, I speak to two former Mayors of Berkeley about the impact Hale has had on the region and the world.\" — Brad Bailey, Director.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>Brad Bailey received his B.A. in Political Science from Yale and his Masters in Public Affairs from Princeton. He recently graduated from UC Berkeley's School of Journalism.\u003c/p>\n\u003cfigure id=\"attachment_2502\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg class=\"size-full wp-image-2502\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/08/IsaacSmith_Headshot.jpg\" alt=\"\" width=\"600\" height=\"696\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/08/IsaacSmith_Headshot.jpg 600w, https://ww2.kqed.org/app/uploads/sites/29/2018/08/IsaacSmith_Headshot-160x186.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2018/08/IsaacSmith_Headshot-240x278.jpg 240w, https://ww2.kqed.org/app/uploads/sites/29/2018/08/IsaacSmith_Headshot-375x435.jpg 375w, https://ww2.kqed.org/app/uploads/sites/29/2018/08/IsaacSmith_Headshot-520x603.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Hale Producer Isaac Smith\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Isaac Smith - Producer \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bio:\u003c/strong>\u003c/p>\n\u003cp>A 2017 graduate of the UC Berkeley School of Journalism, Isaac has produced educational, instructional, and social issue documentaries in such far-flung locations as Dakar, Senegal, and Yangon, Myanmar. He studies the interface between politics, cognition, and morality and is interested in being at the vanguard of the new evidence-informed, multimedia conversation about how society should regulate itself in the era of neuroscience and Big Data.\u003c/p>\n\u003cp>In his spare time, he is an enthusiastic father, yogi, and gardener.\u003c/p>\n\u003cp>\u003cstrong>Cast\u003c/strong>\u003c/p>\n\u003cp>Hale Zukas\u003c/p>\n\u003cp>Zona Roberts\u003c/p>\n\u003cp>Judy Heumann\u003c/p>\n\u003cp>Joan Leon\u003c/p>\n\u003cp>\u003cstrong>Crew\u003c/strong>\u003c/p>\n\u003cp>Brad Bailey\u003c/p>\n\u003cp>Isaac Smith\u003c/p>\n\u003cp>Abner Hauge\u003c/p>\n\u003cp>Pablo De La Hoya\u003c/p>\n\u003cp>Nailah Morgan\u003c/p>\n\u003cp>Mahlia Posey\u003c/p>\n\u003cp>Joe Bush\u003c/p>\n\u003cp>Pasha Minkovsky\u003c/p>\n\u003cp>Nani Walker\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Khaled Sayed\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg class=\"alignnone size-medium wp-image-2318\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/05/Hale1-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1-800x544.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1-160x109.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1-768x522.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1.jpg 960w, https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1-240x163.jpg 240w, https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1-375x255.jpg 375w, https://ww2.kqed.org/app/uploads/sites/29/2018/05/Hale1-520x354.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hale Zukas, 73, has had cerebral palsy since birth. A student at UC Berkeley during the height of '60s activism, Zukas became one of the founders of the disability rights movement. Much of the urban accessibility that we now take for granted, such as public transportation ramps and sidewalk dips, are a direct result of his efforts. He was one of the founding members of \u003cstrong>The\u003c/strong> \u003cstrong>Center for Independent Living in Berkeley\u003c/strong>, the first organization of its kind to provide advocacy and opportunity for people with disabilities.\u003c/p>\n\u003cp>\u003cem>Hale\u003c/em> chronicles Hale Zukas' battle towards empowerment and explores how his work has impacted the lives of disabled people worldwide. The disabled rights movement is a story that has often been a footnote when examining civil rights groups of the 1960s. This film seeks to change that.\u003c/p>\n\u003cfigure id=\"attachment_2485\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-2485 size-medium\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/06/FullSizeRender-3-copy-800x564.jpg\" alt=\"\" width=\"800\" height=\"564\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-800x564.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-160x113.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-768x542.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-1020x719.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-1200x846.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-1180x832.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-960x677.jpg 960w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-240x169.jpg 240w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-375x264.jpg 375w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/FullSizeRender-3-copy-520x367.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hale Director - Brad Bailey\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Statement\u003c/strong>\u003c/p>\n\u003cp>\"I first met Hale Zukas one day when he came to the Journalism School to attend a film screening. He has been a Berkeley institution for decades. It’s common in the city to see him zooming through the streets, in his wheelchair, on his way to an activity or meeting. When I got to know him, I found out about his remarkable history and one day I ran across a plaque in his honor at the Ashby Rail Station in Berkeley, California. I then realized that Hale had been a crucial link in a movement, started in Berkeley in the 1970s, that is responsible for changing how the world looks at the issue of disability. Many things that we take for granted today- from curb cuts to ramps, and laws protecting disability rights all started from the early work of Hale and others here in Berkeley in the 1970s. Further, Hale is still advocating for disability rights through policy while advising San Francisco Bay Area leaders on accessibility. He is also a living embodiment of independent living. In the film, we chronicle the range of daily activities he undergoes, from comedy shows to movies, despite tremendous challenges. In the film, I speak with Zona Roberts, the 97-year-old mother of disability icon Ed Roberts and Judy Heumann, who was appointed by President Clinton and President Obama to lead disability and Special Education issues throughout the nation. In addition, I speak to two former Mayors of Berkeley about the impact Hale has had on the region and the world.\" — Brad Bailey, Director.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Director Bio\u003c/strong>\u003c/p>\n\u003cp>Brad Bailey received his B.A. in Political Science from Yale and his Masters in Public Affairs from Princeton. He recently graduated from UC Berkeley's School of Journalism.\u003c/p>\n\u003cfigure id=\"attachment_2502\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg class=\"size-full wp-image-2502\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/08/IsaacSmith_Headshot.jpg\" alt=\"\" width=\"600\" height=\"696\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/08/IsaacSmith_Headshot.jpg 600w, https://ww2.kqed.org/app/uploads/sites/29/2018/08/IsaacSmith_Headshot-160x186.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2018/08/IsaacSmith_Headshot-240x278.jpg 240w, https://ww2.kqed.org/app/uploads/sites/29/2018/08/IsaacSmith_Headshot-375x435.jpg 375w, https://ww2.kqed.org/app/uploads/sites/29/2018/08/IsaacSmith_Headshot-520x603.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Hale Producer Isaac Smith\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Isaac Smith - Producer \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bio:\u003c/strong>\u003c/p>\n\u003cp>A 2017 graduate of the UC Berkeley School of Journalism, Isaac has produced educational, instructional, and social issue documentaries in such far-flung locations as Dakar, Senegal, and Yangon, Myanmar. He studies the interface between politics, cognition, and morality and is interested in being at the vanguard of the new evidence-informed, multimedia conversation about how society should regulate itself in the era of neuroscience and Big Data.\u003c/p>\n\u003cp>In his spare time, he is an enthusiastic father, yogi, and gardener.\u003c/p>\n\u003cp>\u003cstrong>Cast\u003c/strong>\u003c/p>\n\u003cp>Hale Zukas\u003c/p>\n\u003cp>Zona Roberts\u003c/p>\n\u003cp>Judy Heumann\u003c/p>\n\u003cp>Joan Leon\u003c/p>\n\u003cp>\u003cstrong>Crew\u003c/strong>\u003c/p>\n\u003cp>Brad Bailey\u003c/p>\n\u003cp>Isaac Smith\u003c/p>\n\u003cp>Abner Hauge\u003c/p>\n\u003cp>Pablo De La Hoya\u003c/p>\n\u003cp>Nailah Morgan\u003c/p>\n\u003cp>Mahlia Posey\u003c/p>\n\u003cp>Joe Bush\u003c/p>\n\u003cp>Pasha Minkovsky\u003c/p>\n\u003cp>Nani Walker\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Khaled Sayed\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A View from the Window - A short documentary on hearing impaired youth",
"title": "A View from the Window - A short documentary on hearing impaired youth",
"headTitle": "Season 13 | Truly CA | Truly CA | KQED Arts",
"content": "\u003cp>\u003cimg class=\"alignnone size-medium wp-image-2322\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/06/Fishtank-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>A View from the Window \u003c/em>follows a day in the life of students at the California School for the Deaf. Taking viewers through a journey that includes playing in the school yard, learning about race and identity and how crayfish survive in the wild \u003cem>A View From the Window\u003c/em> takes audiences back to school and educates through a day of learning, diversity and inclusion.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-2320\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-800x800.jpg\" alt=\"\" width=\"250\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot.jpg 1000w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/p>\n\u003cp>Director Bios Azar Kafaei is an independent filmmaker from Tehran, Iran. She obtained her undergraduate degree from Yale University, and is currently an MFA candidate at Stanford's documentary filmmaking program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-2321\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/06/DirectorHeadshot-800x958.jpg\" alt=\"\" width=\"230\" height=\"230\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/06/DirectorHeadshot-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/DirectorHeadshot-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/DirectorHeadshot-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/DirectorHeadshot-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/DirectorHeadshot-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/DirectorHeadshot-150x150.jpg 150w\" sizes=\"(max-width: 230px) 100vw, 230px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Chris Filippone is an independent filmmaker from Philadelphia whose work has been screened in Visions du Réel, Sheffield Doc/Fest, Palm Springs Shortfest, The Guardian, and The Walker Art Center. His most recent film, \"Scrap,\" won the Spirit Award for Short Documentary at the Brooklyn Film Festival. He has also received support from MiND TV, the Bread and Roses Fund, as well as a Telluride Student Symposium Fellowship. He currently attends the MFA Documentary Film and Video Program at Stanford University.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg class=\"alignnone size-medium wp-image-2322\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/06/Fishtank-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Fishtank-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>A View from the Window \u003c/em>follows a day in the life of students at the California School for the Deaf. Taking viewers through a journey that includes playing in the school yard, learning about race and identity and how crayfish survive in the wild \u003cem>A View From the Window\u003c/em> takes audiences back to school and educates through a day of learning, diversity and inclusion.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-2320\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-800x800.jpg\" alt=\"\" width=\"250\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/29/2018/06/Azar-Kafaei-Headshot.jpg 1000w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/p>\n\u003cp>Director Bios Azar Kafaei is an independent filmmaker from Tehran, Iran. She obtained her undergraduate degree from Yale University, and is currently an MFA candidate at Stanford's documentary filmmaking program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the dark depths of a 6,000 square foot industrial warehouse in San Francisco's Mission District, a shadowy figure of a man steps into the light. That man is Stephen Parr. He's an archivist, a curator, a collector, an artist, a writer, and an image maker, but if you ask him yourself he'll tell you he's in the memory business. That memory business is Oddball Films - the largest private film archive in Northern California, and also the most unusual.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp class=\"textbox\" dir=\"ltr\">\u003cstrong>ODDBALL | Director's Statement\u003c/strong>\u003c/p>\n\u003cp class=\"textbox\" dir=\"ltr\">There's something magical and otherworldly about setting foot inside the Mission warehouse space that is San Francisco's Oddball Films. It's difficult to fully describe in words (though I just tried). 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I was fortunate to get to know Stephen Parr in what turned out to be the last year of his life and feel blessed I was able to share his story.\u003c/p>\n\u003cp class=\"textbox\" dir=\"ltr\">- Joshua Moore\u003c/p>\n\u003cfigure id=\"attachment_2480\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-2480\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-768x514.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-1020x682.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-960x642.jpg 960w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-240x161.jpg 240w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-375x251.jpg 375w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-520x348.jpg 520w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Oddball' Director, Joshua Moore\u003c/figcaption>\u003c/figure>\n\u003cp>Joshua Moore is an award-winning filmmaker based in San Francisco. He curates film and new media for the Jewish Film Institute. His \"delightfully freewheeling debut\" feature, \u003cem>I Think It's Raining\u003c/em>, had its world premiere at the Karlovy Vary International Film Festival, Czech Republic, in 2011, where it was nominated for the Independent Camera Award and received glowing reviews from Screen Daily and Variety. \u003cem>I Think It's Raining\u003c/em> was also the opening night film for the Cinema by the Bay Festival, San Francisco, in 2011 and has played in many film festivals across the country including Rooftop Films, New York City. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the dark depths of a 6,000 square foot industrial warehouse in San Francisco's Mission District, a shadowy figure of a man steps into the light. That man is Stephen Parr. He's an archivist, a curator, a collector, an artist, a writer, and an image maker, but if you ask him yourself he'll tell you he's in the memory business. That memory business is Oddball Films - the largest private film archive in Northern California, and also the most unusual.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp class=\"textbox\" dir=\"ltr\">\u003cstrong>ODDBALL | Director's Statement\u003c/strong>\u003c/p>\n\u003cp class=\"textbox\" dir=\"ltr\">There's something magical and otherworldly about setting foot inside the Mission warehouse space that is San Francisco's Oddball Films. It's difficult to fully describe in words (though I just tried). It's more of a feeling and a wonder that comes over you as you navigate through the darkness of the floor to ceiling shelves stacked with film cans, past the other odds and ends only an eccentric collector of tchotchkes would have until you reach the cozy screening room that resembles equal parts burlesque lounge, movie theater and greasy spoon diner. Then a small man in a hat with a distinct voice and dressed in even more distinctive vintage clothing steps out from behind a 16mm projector and welcomes you to something you've never seen before. At least that's how I remembered it the first time I went to Oddball Films and what I've tried to capture here in this short portrait of the place and the lovely unique man behind it that is sadly no longer with us. I was fortunate to get to know Stephen Parr in what turned out to be the last year of his life and feel blessed I was able to share his story.\u003c/p>\n\u003cp class=\"textbox\" dir=\"ltr\">- Joshua Moore\u003c/p>\n\u003cfigure id=\"attachment_2480\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-2480\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-768x514.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-1020x682.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-960x642.jpg 960w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-240x161.jpg 240w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-375x251.jpg 375w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo-520x348.jpg 520w, https://ww2.kqed.org/app/uploads/sites/29/2018/07/Joshua-Moore_Director_photo.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Oddball' Director, Joshua Moore\u003c/figcaption>\u003c/figure>\n\u003cp>Joshua Moore is an award-winning filmmaker based in San Francisco. He curates film and new media for the Jewish Film Institute. His \"delightfully freewheeling debut\" feature, \u003cem>I Think It's Raining\u003c/em>, had its world premiere at the Karlovy Vary International Film Festival, Czech Republic, in 2011, where it was nominated for the Independent Camera Award and received glowing reviews from Screen Daily and Variety. \u003cem>I Think It's Raining\u003c/em> was also the opening night film for the Cinema by the Bay Festival, San Francisco, in 2011 and has played in many film festivals across the country including Rooftop Films, New York City. His most recent film, \u003cem>Oddball\u003c/em>, a creative profile on Stephen Parr, the Oddball behind San Francisco's Oddball Films, played numerous film festivals and is a Vimeo Staff Pick.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"512\" height=\"376\" src=\"https://player.pbs.org/viralplayer/3014675896/\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-2331\" src=\"https://ww2.kqed.org/trulyca/wp-content/uploads/sites/29/2018/05/WTTN_Onynex-at-Adeline-800x348.png\" alt=\"\" width=\"600\" height=\"400\">\u003c/p>\n\u003cp>\u003cem>Welcome to the neighborhood \u003c/em> follows the story of a Berkeley family, the Howards. Mable Howard, known as Mama Howard, came with her husband and children to San Francisco during World War II to work in the shipyards of Hunters Point. They soon joined the growing community of African Americans in South Berkeley. 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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"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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"order": 19
},
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
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