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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>o you have a foolproof video that always makes you laugh? A TV or movie clip that, no matter what particular brand of despair filled your day—the fear and anxiety of daily headlines, work frustrations or relationship troubles—can at the very least get you to smile?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>There’s a handful of media that I regularly employ in such a medicinal fashion, but my No. 1 has held steady for years now. It’s \u003ca href=\"https://www.nbc.com/saturday-night-live/video/extremely-stupid/n8642\" target=\"_blank\" rel=\"noopener noreferrer\">a skit that ran on \u003cem>Saturday Night Live\u003c/em> in December 1976\u003c/a>, during the 10th episode of the second season. Candice Bergen hosted; Frank Zappa was the musical guest.\u003c/p>\n\u003cp>The sketch is a fake commercial, a public service announcement for the stupidity-rights movement, featuring Bergen and Gilda Radner. The premise is, appropriately, extremely stupid, and would likely have only been moderately funny if things had gone according to script. But then magic happens: Bergen flubs a line, and Radner runs with it in such a simple yet hilarious way that the studio audience erupts with laughter and, simultaneously, Bergen breaks. Straight-up loses it. I’m talking slumber party, wipe-your-eyes, pee-your-pants style giggle fit, which the viewer gets to watch over Radner’s right shoulder for the duration of the sketch.\u003c/p>\n\u003cp>This sketch is \u003cem>so dumb\u003c/em>, but I love it. I love the face Radner makes as she’s deciding to deliver the ad-libbed line that sends the thing over the top; I love seeing a seasoned actress rendered helpless by laughter. But there’s also something that’s just perfectly-distilled \u003cem>Gilda\u003c/em> here: open, silly, contagious joy. It feels like an old friend making you laugh, finding your weak spot and doubling down on it, trying to make milk shoot out of your nose. I wish this skit lasted 10 minutes longer.\u003c/p>\n\u003cp>I wish we got even 10 more minutes of Gilda in general.\u003c/p>\n\u003cfigure id=\"attachment_13840709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840709\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/5-800x803.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1195x1200.jpg 1195w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-150x150.jpg 150w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>here’s truly a timeless, universal quality to what she did. Amy Poehler said she thinks of Gilda as a red-blue state: loved by all,” says Lisa D’Apolito, the director of \u003cem>Love, Gilda\u003c/em>, a new documentary about the late comedian that hits theaters Sept. 21. (It had its world premiere as the opening film at New York’s Tribeca Film Festival in April, with an emotional introduction from Tina Fey.)\u003c/p>\n\u003cp>“She just enjoyed performing \u003cem>so much\u003c/em>,” says D’Apolito of Radner. “And she obviously had an acute sense of character, but physical comedy was always part of it. The way she uses her body—even if you didn’t understand the language she was speaking, I think you could just watch Gilda and laugh.”\u003c/p>\n\u003cp>“Just watch Gilda and laugh” is, fittingly, what most \u003cem>Love, Gilda\u003c/em> viewers will leave the theater wanting to do, so prepare to lose at least an hour or two afterward in a YouTube rabbit hole, revisiting beloved characters like Emily Litella, Roseanne Roseannadanna and Lisa Loopner. But casual fans of the comedian—who died tragically at 42, of ovarian cancer—will also gain insight on lesser-known aspects of her life; the documentary isn’t shy about her demons.\u003c/p>\n\u003cfigure id=\"attachment_13840744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg\" alt=\"Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in 'Love, Gilda.'\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-768x776.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1188x1200.jpg 1188w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1180x1192.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-960x970.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-520x525.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup.jpg 1544w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born into an upper-middle-class Jewish family in Detroit, Radner was a happy but chubby kid; her parents put her on diet pills while she was still in elementary school. Meanwhile, she honed a self-deprecating sense of humor as a way to debarb insults from other children, and grew to crave the feeling of love that came with making people laugh. Then Radner’s father, her most enthusiastic audience, died when she was 14. In context, her deep insecurities (even at the height of her fame) and her ongoing battle with bulimia as an adult (diary entries from her stay at an eating disorder clinic are particularly tough to hear) snap into painfully sharp focus.\u003c/p>\n\u003cp>D’Apolito earned the trust of Radner’s brother, as well as ex-husband Gene Wilder and other close friends over the course of the four-year filmmaking process, gaining access to previously unreleased material, and the film feels both intimate and protective of Radner’s legacy as a result. To be sure, it’s fun to see Amy Poehler, Melissa McCarthy, Bill Hader and other current comics voice their awe about Radner, while onetime colleagues like Lorne Michaels and Martin Short get the chance to reminisce. The doc touches on the comedian’s romantic relationships, including marriages to \u003cem>SNL\u003c/em> bandleader G.E. Smith and, of course, to Wilder. (Bill Murray, who had a two-year, deep but reportedly tumultuous relationship with Radner, didn’t respond to the filmmaker’s requests for an interview.)\u003c/p>\n\u003cp>But it’s the primary sources that make \u003cem>Love, Gilda\u003c/em> hit you in the chest. Using home movies, diaries, and a series of audiotapes the comedian recorded in the process of writing her memoir \u003cem>It’s Always Something\u003c/em>, the film smartly allows Radner to narrate her own story, in her own voice, wherever possible.\u003c/p>\n\u003cfigure id=\"attachment_13840708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/3-800x254.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-800x254.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-768x244.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1020x324.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1200x381.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1180x375.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-960x305.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-240x76.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-375x119.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-520x165.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in these journals that we get closest to understanding a central tension for Radner: that of a natural star who got blindsided by the realities of actual stardom. The first person cast in the “Not Ready For Primetime Players”—the freshman group of comedians on \u003cem>SNL\u003c/em> in 1975 that included Chevy Chase, John Belushi and Dan Aykroyd—Radner was in many ways an archetypal \u003ca href=\"https://www.buzzfeed.com/annehelenpetersen/jennifer-lawrence-and-the-history-of-cool-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Girl\u003c/a>. She could hold her own with literally the best of them; there was an innocence about her, but she also loved to get gross, tell fart jokes; she could play kids or old ladies and anything in between. She was always having fun—explosive, fully committed fun—and she didn’t mind \u003ca href=\"http://fuckyeahgildaradner.tumblr.com/post/67929609392/jagweedish-deactivated20140427-gilda-radner\" target=\"_blank\" rel=\"noopener noreferrer\">if it came with a few bruised ribs\u003c/a>.\u003c/p>\n\u003cp>By the end of the show’s first season, viewers across America had fallen in love with her. And just like that, she could barely leave the house without a disguise.\u003c/p>\n\u003cp>“I think she saw life as a playground, and she loved to go out and play,” says D’Apolito. “But once she started to become famous she couldn’t go out, and I think that’s when the eating disorder got worse … her friends told me she liked getting her makeup done for magazines, but she definitely wasn’t after fame.”\u003c/p>\n\u003cp>What does it mean, exactly, to love an audience but dislike being famous? What do you owe your fans, if anything? And how much heavier are those questions when you’re a young woman whom nearly everyone, myself included, has subconsciously come to think of as a friend?\u003c/p>\n\u003cfigure id=\"attachment_13840712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/12-800x543.jpg\" alt=\"Gilda Radner with Gene Wilder and dog Sparkle in 'Love, Gilda.'\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1180x801.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-960x652.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-520x353.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner with Gene Wilder and dog Sparkle in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’d be ridiculous to attempt to list the performers, male and female, who owe Gilda Radner a debt in some way. Mike Myers has said she’s the reason he wanted to be on \u003cem>SNL\u003c/em>. Personally, I can’t watch Maya Rudolph, Kate McKinnon, \u003cem>Broad City\u003c/em>, Ali Wong, Jenny Slate—the list goes on—without seeing sparks of Gilda’s electricity.\u003c/p>\n\u003cp>With the whole doc clocking in at just 86 minutes, \u003cem>Love, Gilda\u003c/em> doesn’t have time to fully map that lineage either. The final half-hour feels a bit rushed, covering Radner’s life in Los Angeles, grief over a miscarriage, diagnosis with ovarian cancer, and discovery of the Wellness Community, a cancer support organization that later inspired Wilder to found Gilda’s Club in his wife’s honor. (The two organizations have since merged.)\u003c/p>\n\u003cp>But for those of us who are still in love with her, it might also be true that even a five-hour film wouldn’t feel sufficient.\u003c/p>\n\u003cp>“When I first started trying to drum up support for the film, I was hearing concern about whether there would be enough interest in her—I think especially among younger viewers, who might not know who she is,” says D’Apolito. But D’Apolito had worked with Gilda’s Club; she knew exactly how much Radner meant to clients there. And since the film first premiered she’s held screenings in select cities—when we talk, she’s just hosted San Diego’s the night before—and “every time, there are 20 or 25 people who wait to just tell me ‘thank you’ after. They’re \u003cem>grateful\u003c/em> for her.”\u003c/p>\n\u003cfigure id=\"attachment_13840742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840742\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1200x805.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-520x349.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gilda Radner died on the afternoon of May 20, 1989, which also happened to be a Saturday, a few hours before the finale of \u003cem>SNL\u003c/em>’s 14th season. The news broke as host Steve Martin was rehearsing; the cast and crew were understandably devastated—apparently few of them were aware of how ill she’d been—and the decision was made to scrap the intro monologue.\u003c/p>\n\u003cp>Instead, visibly choked up, Martin introduces a \u003ca href=\"http://classicajays.tumblr.com/post/7734859743/so-here-it-is-everyone-the-steve-martin-monologue\" target=\"_blank\" rel=\"noopener noreferrer\">clip of a sketch he performed with her on the show in 1978\u003c/a>. It’s entirely wordless: a musical number in which the pair, dressed in white, both obviously masters of physical comedy, swerve between attempts at sensual ballroom dancing and goofy, hysterical, limb-swinging freakouts—all culminating in Radner climbing back into her chair at a dinner table in, and I don’t know how else to phrase this, the funniest way anyone has ever tried to segue from dancing into sitting back down at a dinner table in the history of time.\u003c/p>\n\u003cp>The sketch was apparently parodying a well-known routine from a Fred Astaire movie, but I didn’t know that the first few times I saw it. All I knew was that it made me laugh like crazy, and that it, too, was top-shelf, quadruple-distilled Gilda. Which is to say, joyful. Game for anything. Sweet beyond belief, but cut with the signs of an absolute maniac. And perfectly, imperfectly human.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Love, Gilda’ opens nationally Sept. 21.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>o you have a foolproof video that always makes you laugh? A TV or movie clip that, no matter what particular brand of despair filled your day—the fear and anxiety of daily headlines, work frustrations or relationship troubles—can at the very least get you to smile?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>There’s a handful of media that I regularly employ in such a medicinal fashion, but my No. 1 has held steady for years now. It’s \u003ca href=\"https://www.nbc.com/saturday-night-live/video/extremely-stupid/n8642\" target=\"_blank\" rel=\"noopener noreferrer\">a skit that ran on \u003cem>Saturday Night Live\u003c/em> in December 1976\u003c/a>, during the 10th episode of the second season. Candice Bergen hosted; Frank Zappa was the musical guest.\u003c/p>\n\u003cp>The sketch is a fake commercial, a public service announcement for the stupidity-rights movement, featuring Bergen and Gilda Radner. The premise is, appropriately, extremely stupid, and would likely have only been moderately funny if things had gone according to script. But then magic happens: Bergen flubs a line, and Radner runs with it in such a simple yet hilarious way that the studio audience erupts with laughter and, simultaneously, Bergen breaks. Straight-up loses it. I’m talking slumber party, wipe-your-eyes, pee-your-pants style giggle fit, which the viewer gets to watch over Radner’s right shoulder for the duration of the sketch.\u003c/p>\n\u003cp>This sketch is \u003cem>so dumb\u003c/em>, but I love it. I love the face Radner makes as she’s deciding to deliver the ad-libbed line that sends the thing over the top; I love seeing a seasoned actress rendered helpless by laughter. But there’s also something that’s just perfectly-distilled \u003cem>Gilda\u003c/em> here: open, silly, contagious joy. It feels like an old friend making you laugh, finding your weak spot and doubling down on it, trying to make milk shoot out of your nose. I wish this skit lasted 10 minutes longer.\u003c/p>\n\u003cp>I wish we got even 10 more minutes of Gilda in general.\u003c/p>\n\u003cfigure id=\"attachment_13840709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840709\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/5-800x803.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1195x1200.jpg 1195w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-150x150.jpg 150w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>here’s truly a timeless, universal quality to what she did. Amy Poehler said she thinks of Gilda as a red-blue state: loved by all,” says Lisa D’Apolito, the director of \u003cem>Love, Gilda\u003c/em>, a new documentary about the late comedian that hits theaters Sept. 21. (It had its world premiere as the opening film at New York’s Tribeca Film Festival in April, with an emotional introduction from Tina Fey.)\u003c/p>\n\u003cp>“She just enjoyed performing \u003cem>so much\u003c/em>,” says D’Apolito of Radner. “And she obviously had an acute sense of character, but physical comedy was always part of it. The way she uses her body—even if you didn’t understand the language she was speaking, I think you could just watch Gilda and laugh.”\u003c/p>\n\u003cp>“Just watch Gilda and laugh” is, fittingly, what most \u003cem>Love, Gilda\u003c/em> viewers will leave the theater wanting to do, so prepare to lose at least an hour or two afterward in a YouTube rabbit hole, revisiting beloved characters like Emily Litella, Roseanne Roseannadanna and Lisa Loopner. But casual fans of the comedian—who died tragically at 42, of ovarian cancer—will also gain insight on lesser-known aspects of her life; the documentary isn’t shy about her demons.\u003c/p>\n\u003cfigure id=\"attachment_13840744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg\" alt=\"Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in 'Love, Gilda.'\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-768x776.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1188x1200.jpg 1188w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1180x1192.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-960x970.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-520x525.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup.jpg 1544w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born into an upper-middle-class Jewish family in Detroit, Radner was a happy but chubby kid; her parents put her on diet pills while she was still in elementary school. Meanwhile, she honed a self-deprecating sense of humor as a way to debarb insults from other children, and grew to crave the feeling of love that came with making people laugh. Then Radner’s father, her most enthusiastic audience, died when she was 14. In context, her deep insecurities (even at the height of her fame) and her ongoing battle with bulimia as an adult (diary entries from her stay at an eating disorder clinic are particularly tough to hear) snap into painfully sharp focus.\u003c/p>\n\u003cp>D’Apolito earned the trust of Radner’s brother, as well as ex-husband Gene Wilder and other close friends over the course of the four-year filmmaking process, gaining access to previously unreleased material, and the film feels both intimate and protective of Radner’s legacy as a result. To be sure, it’s fun to see Amy Poehler, Melissa McCarthy, Bill Hader and other current comics voice their awe about Radner, while onetime colleagues like Lorne Michaels and Martin Short get the chance to reminisce. The doc touches on the comedian’s romantic relationships, including marriages to \u003cem>SNL\u003c/em> bandleader G.E. Smith and, of course, to Wilder. (Bill Murray, who had a two-year, deep but reportedly tumultuous relationship with Radner, didn’t respond to the filmmaker’s requests for an interview.)\u003c/p>\n\u003cp>But it’s the primary sources that make \u003cem>Love, Gilda\u003c/em> hit you in the chest. Using home movies, diaries, and a series of audiotapes the comedian recorded in the process of writing her memoir \u003cem>It’s Always Something\u003c/em>, the film smartly allows Radner to narrate her own story, in her own voice, wherever possible.\u003c/p>\n\u003cfigure id=\"attachment_13840708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/3-800x254.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-800x254.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-768x244.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1020x324.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1200x381.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1180x375.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-960x305.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-240x76.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-375x119.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-520x165.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in these journals that we get closest to understanding a central tension for Radner: that of a natural star who got blindsided by the realities of actual stardom. The first person cast in the “Not Ready For Primetime Players”—the freshman group of comedians on \u003cem>SNL\u003c/em> in 1975 that included Chevy Chase, John Belushi and Dan Aykroyd—Radner was in many ways an archetypal \u003ca href=\"https://www.buzzfeed.com/annehelenpetersen/jennifer-lawrence-and-the-history-of-cool-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Girl\u003c/a>. She could hold her own with literally the best of them; there was an innocence about her, but she also loved to get gross, tell fart jokes; she could play kids or old ladies and anything in between. She was always having fun—explosive, fully committed fun—and she didn’t mind \u003ca href=\"http://fuckyeahgildaradner.tumblr.com/post/67929609392/jagweedish-deactivated20140427-gilda-radner\" target=\"_blank\" rel=\"noopener noreferrer\">if it came with a few bruised ribs\u003c/a>.\u003c/p>\n\u003cp>By the end of the show’s first season, viewers across America had fallen in love with her. And just like that, she could barely leave the house without a disguise.\u003c/p>\n\u003cp>“I think she saw life as a playground, and she loved to go out and play,” says D’Apolito. “But once she started to become famous she couldn’t go out, and I think that’s when the eating disorder got worse … her friends told me she liked getting her makeup done for magazines, but she definitely wasn’t after fame.”\u003c/p>\n\u003cp>What does it mean, exactly, to love an audience but dislike being famous? What do you owe your fans, if anything? And how much heavier are those questions when you’re a young woman whom nearly everyone, myself included, has subconsciously come to think of as a friend?\u003c/p>\n\u003cfigure id=\"attachment_13840712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/12-800x543.jpg\" alt=\"Gilda Radner with Gene Wilder and dog Sparkle in 'Love, Gilda.'\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1180x801.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-960x652.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-520x353.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner with Gene Wilder and dog Sparkle in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’d be ridiculous to attempt to list the performers, male and female, who owe Gilda Radner a debt in some way. Mike Myers has said she’s the reason he wanted to be on \u003cem>SNL\u003c/em>. Personally, I can’t watch Maya Rudolph, Kate McKinnon, \u003cem>Broad City\u003c/em>, Ali Wong, Jenny Slate—the list goes on—without seeing sparks of Gilda’s electricity.\u003c/p>\n\u003cp>With the whole doc clocking in at just 86 minutes, \u003cem>Love, Gilda\u003c/em> doesn’t have time to fully map that lineage either. The final half-hour feels a bit rushed, covering Radner’s life in Los Angeles, grief over a miscarriage, diagnosis with ovarian cancer, and discovery of the Wellness Community, a cancer support organization that later inspired Wilder to found Gilda’s Club in his wife’s honor. (The two organizations have since merged.)\u003c/p>\n\u003cp>But for those of us who are still in love with her, it might also be true that even a five-hour film wouldn’t feel sufficient.\u003c/p>\n\u003cp>“When I first started trying to drum up support for the film, I was hearing concern about whether there would be enough interest in her—I think especially among younger viewers, who might not know who she is,” says D’Apolito. But D’Apolito had worked with Gilda’s Club; she knew exactly how much Radner meant to clients there. And since the film first premiered she’s held screenings in select cities—when we talk, she’s just hosted San Diego’s the night before—and “every time, there are 20 or 25 people who wait to just tell me ‘thank you’ after. They’re \u003cem>grateful\u003c/em> for her.”\u003c/p>\n\u003cfigure id=\"attachment_13840742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840742\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1200x805.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-520x349.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gilda Radner died on the afternoon of May 20, 1989, which also happened to be a Saturday, a few hours before the finale of \u003cem>SNL\u003c/em>’s 14th season. The news broke as host Steve Martin was rehearsing; the cast and crew were understandably devastated—apparently few of them were aware of how ill she’d been—and the decision was made to scrap the intro monologue.\u003c/p>\n\u003cp>Instead, visibly choked up, Martin introduces a \u003ca href=\"http://classicajays.tumblr.com/post/7734859743/so-here-it-is-everyone-the-steve-martin-monologue\" target=\"_blank\" rel=\"noopener noreferrer\">clip of a sketch he performed with her on the show in 1978\u003c/a>. It’s entirely wordless: a musical number in which the pair, dressed in white, both obviously masters of physical comedy, swerve between attempts at sensual ballroom dancing and goofy, hysterical, limb-swinging freakouts—all culminating in Radner climbing back into her chair at a dinner table in, and I don’t know how else to phrase this, the funniest way anyone has ever tried to segue from dancing into sitting back down at a dinner table in the history of time.\u003c/p>\n\u003cp>The sketch was apparently parodying a well-known routine from a Fred Astaire movie, but I didn’t know that the first few times I saw it. All I knew was that it made me laugh like crazy, and that it, too, was top-shelf, quadruple-distilled Gilda. Which is to say, joyful. Game for anything. Sweet beyond belief, but cut with the signs of an absolute maniac. And perfectly, imperfectly human.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Love, Gilda’ opens nationally Sept. 21.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The First of the Oakland Raiders Cheerleaders",
"headTitle": "The First of the Oakland Raiders Cheerleaders | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>ou ever wish you could just jump into a photo? Just so you could be in that time and place, and be able to witness the story behind the picture?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>When Rita Cecaci opened her photo album and showed me a black-and-white image of the first-ever squad of cheerleaders for the Oakland Raiders, and then pointed to the young woman in the middle of the bunch, and said, “that’s me,” I was intrigued.\u003c/p>\n\u003cp>When she told me she was still in high school when the photo of the Raiderettes was taken, 56 years ago, I was \u003cem>really\u003c/em> intrigued.\u003c/p>\n\u003cp>Most of the 20 cheerleaders in the photo—if not all of them—were high schoolers, posing at Frank Youell Field, which we now call Laney College. It was the 1962 season, the franchise’s third full season and the first year the Oakland Raiders actually played in Oakland. (The two years previous, they played in San Francisco at Kezar Stadium and Candlestick Park.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with other photos of the squad, Cecaci also had a 1962 season program. Passing by the ads for local car lots and beer companies, she showed me a blurb introducing the Raiderettes: “Our halftime production will be better than in 1961, with the addition of the Oakland Raiderettes, a precision team modeled after the world-famous Rockettes of Radio City fame in New York City.”\u003c/p>\n\u003cfigure id=\"attachment_13840440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840440\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-800x575.jpg\" alt=\"Rita Cecaci at her home in Oakland. Cecaci was on the first-ever Oakland Raiders cheerleading squad, the Raiderettes, in 1962.\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-960x689.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rita Cecaci at her home in Oakland. Cecaci was on the first-ever Oakland Raiders cheerleading squad, the Raiderettes, in 1962. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Raiderettes worked under the guidance of well-known musician and actor Del Courtney, who directed the Raider band and orchestrated the halftime show. Of course, the cheerleaders weren’t paid. And again, of course, they did more than just perform at halftime shows, appearing out in the community, including an All-Girl Revue at Oakland Tech.\u003c/p>\n\u003cp>As she turned the pages in her photo album, she walked me through the world that was mid-20th century Oakland. I quickly realized that her story isn’t just about her time spent cheering on a well-known pro sports team, although that’s what piqued my interest; her story is that of a woman who’s spent a lifetime committed to family, community, culture and history.\u003c/p>\n\u003cp>Her commitments were here before the Raiders were founded in 1960, and will be here long after they leave; and that’s what makes Oakland Oakland. It’s not about a sports team, although a sports team does amplify the identity of the Town. It’s about the people who make the place. And she’s one of the many who gained from, and gave her all to, this town.\u003c/p>\n\u003cfigure id=\"attachment_13840435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840435\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-800x450.jpg\" alt=\"A shot of the Raiderettes in 1962.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A shot of the Raiderettes in 1962. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>ecaci grew up not too far from there, in the Jingletown neighborhood. She’d heard the same legend I had: that the name of the neighborhood came from the sound of coins jingling around in people’s pockets as they walked home from work. We laughed when neither of us could confirm the rumor.\u003c/p>\n\u003cp>She was raised by her grandparents. Her grandmother, a first generation Mexican-American woman, worked the majority of her life at the American Telephone and Telegraph Company (AT&T); Cecaci still keeps one of her switchboard plugs on her keyring. Her grandfather, who was born in Mexico, worked at a foundry not too far from their house, and was a skilled carpenter and gardener. Together, they bought four parcels of land and built three houses on the property, that’s where Cecaci spent her childhood.\u003c/p>\n\u003cp>Sometimes big trucks full of tomatoes from the valley would park near their house, waiting to unload at the Del Monte cannery, near where Fruitvale BART now stands. “Some kids would jump up, take the tomatoes, and throw them and make a mess,” said Cecaci. “But they were the best tasting tomatoes, big beefsteak tomatoes. Big as your face, almost!”\u003c/p>\n\u003cp>As a precursor to cheerleading, Cecaci learned dancing at a studio in her neighborhood in East Oakland, “tap dancing and ballet, when I was eight or nine years old, in a studio in the Fruitvale on East 14th.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13840434\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.Program-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-520x361.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>She turned the page in her book again, pointing at young images of herself, standing next to the family’s 1930s truck. There was an image of her all dolled up, celebrating the Queen of the Holy Ghost, a Portuguese Tradition. And of course, her graduation portrait: Class of 1964, Fremont High School.\u003c/p>\n\u003cp>Cecaci only cheered for two years. A few years after graduating, Cecaci got married, had three children of her own, and eventually moved near Mills College. A career in education followed, including stints at Holy Names, Urban Promise Academy, and helping shape Northern California’s first Charter School, Oakland Charter Academy (OCA), originally called Jingletown Charter School. She retired earlier this year.\u003c/p>\n\u003cp>But in the early 1990s, her family sold the parcels of land where she grew up, and she cringes when talking about how much they got versus how much the recently built live-in-work lofts on that land are now selling for now.\u003c/p>\n\u003cp>The story of housing, culture and history especially hits home for Rita’s middle daughter, Elisa Cecaci, who just settled a long back-and-forth with a former landlord.\u003c/p>\n\u003cp>Elisa told me that after the landlord blatantly attempted to force her and her family out, she wisened up and went through the City Of Oakland’s Mortgage Assistance Program to purchase a home. While staying with her mother, she worked hard, saved money, raised her credit score, and then “our escrow closed on the same day the settlement ended,” she said.\u003c/p>\n\u003cp>The success of finding housing is bittersweet, added Elisa, who volunteers with the East Oakland Collective to bring food and resources to un-housed people.\u003c/p>\n\u003cp>“My story is the other side of displacement,” she said of the crisis in Oakland. “Yes, we were technically displaced, but we were intentional about not leaving.”\u003c/p>\n\u003cfigure id=\"attachment_13840437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-800x507.jpg\" alt=\"A land assessor's book for the city of Brooklyn (later Oakland), owned by Elise Cecaci.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-520x330.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A land assessor’s book for the city of Brooklyn (later Oakland), owned by Elisa Cecaci. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>oth Elisa and Rita agree that the issues in Oakland are manyfold: lack of housing, the broken school system, illegal dumping. And yes, even pro sports teams ditching Oakland for what they seem to think are brighter pastures.\u003c/p>\n\u003cp>“I think it’s a slap in the face,” said Elisa. “The Warriors and the Raiders are going to other places—I’m not super big on sports, and definitely have issues with the NFL, but in Oakland, we go hard for our teams.”\u003c/p>\n\u003cp>And intertwined with the identity of the sports teams is the political and cultural identity of the Town.\u003c/p>\n\u003cp>Elisa gets that. She said she works for “gentrifiers” as a nanny, and is clear about her efforts to bridge the gap between the new community and the people who’ve been here. She laughed as she told me that she often wears political shirts to work, ones that say “Oakland Against Gentrification” and “Condos and Tent Cities Everywhere I Look.”\u003c/p>\n\u003cp>One day while leaving the house where she works, she saw a pile of things that had been discarded, evidently from someone moving out abruptly. From that pile stood out a leather bound book that read “Brooklyn” on the cover. She didn’t have to turn through the tattered pages of the book for long before she realized it was a City Assessors book from the 1890s; back when East Oakland was called Brooklyn.\u003c/p>\n\u003cp>“You should give it to the City of Oakland,” one friend told Elisa.\u003c/p>\n\u003cp>She replied, “I \u003cem>am\u003c/em> the city of Oakland.”\u003c/p>\n\u003cp>When she sent me some images from that book, and as I stared at the photos on my phone, my mind wandered into what it’d be like to jump into those pictures.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Rita Cecaci cheered for the first-ever Raiders cheerleading squad, the Raiderettes, in 1962—and has stayed in Oakland ever since.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>ou ever wish you could just jump into a photo? Just so you could be in that time and place, and be able to witness the story behind the picture?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>When Rita Cecaci opened her photo album and showed me a black-and-white image of the first-ever squad of cheerleaders for the Oakland Raiders, and then pointed to the young woman in the middle of the bunch, and said, “that’s me,” I was intrigued.\u003c/p>\n\u003cp>When she told me she was still in high school when the photo of the Raiderettes was taken, 56 years ago, I was \u003cem>really\u003c/em> intrigued.\u003c/p>\n\u003cp>Most of the 20 cheerleaders in the photo—if not all of them—were high schoolers, posing at Frank Youell Field, which we now call Laney College. It was the 1962 season, the franchise’s third full season and the first year the Oakland Raiders actually played in Oakland. (The two years previous, they played in San Francisco at Kezar Stadium and Candlestick Park.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with other photos of the squad, Cecaci also had a 1962 season program. Passing by the ads for local car lots and beer companies, she showed me a blurb introducing the Raiderettes: “Our halftime production will be better than in 1961, with the addition of the Oakland Raiderettes, a precision team modeled after the world-famous Rockettes of Radio City fame in New York City.”\u003c/p>\n\u003cfigure id=\"attachment_13840440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840440\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-800x575.jpg\" alt=\"Rita Cecaci at her home in Oakland. Cecaci was on the first-ever Oakland Raiders cheerleading squad, the Raiderettes, in 1962.\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-960x689.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rita Cecaci at her home in Oakland. Cecaci was on the first-ever Oakland Raiders cheerleading squad, the Raiderettes, in 1962. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Raiderettes worked under the guidance of well-known musician and actor Del Courtney, who directed the Raider band and orchestrated the halftime show. Of course, the cheerleaders weren’t paid. And again, of course, they did more than just perform at halftime shows, appearing out in the community, including an All-Girl Revue at Oakland Tech.\u003c/p>\n\u003cp>As she turned the pages in her photo album, she walked me through the world that was mid-20th century Oakland. I quickly realized that her story isn’t just about her time spent cheering on a well-known pro sports team, although that’s what piqued my interest; her story is that of a woman who’s spent a lifetime committed to family, community, culture and history.\u003c/p>\n\u003cp>Her commitments were here before the Raiders were founded in 1960, and will be here long after they leave; and that’s what makes Oakland Oakland. It’s not about a sports team, although a sports team does amplify the identity of the Town. It’s about the people who make the place. And she’s one of the many who gained from, and gave her all to, this town.\u003c/p>\n\u003cfigure id=\"attachment_13840435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840435\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-800x450.jpg\" alt=\"A shot of the Raiderettes in 1962.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A shot of the Raiderettes in 1962. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>ecaci grew up not too far from there, in the Jingletown neighborhood. She’d heard the same legend I had: that the name of the neighborhood came from the sound of coins jingling around in people’s pockets as they walked home from work. We laughed when neither of us could confirm the rumor.\u003c/p>\n\u003cp>She was raised by her grandparents. Her grandmother, a first generation Mexican-American woman, worked the majority of her life at the American Telephone and Telegraph Company (AT&T); Cecaci still keeps one of her switchboard plugs on her keyring. Her grandfather, who was born in Mexico, worked at a foundry not too far from their house, and was a skilled carpenter and gardener. Together, they bought four parcels of land and built three houses on the property, that’s where Cecaci spent her childhood.\u003c/p>\n\u003cp>Sometimes big trucks full of tomatoes from the valley would park near their house, waiting to unload at the Del Monte cannery, near where Fruitvale BART now stands. “Some kids would jump up, take the tomatoes, and throw them and make a mess,” said Cecaci. “But they were the best tasting tomatoes, big beefsteak tomatoes. Big as your face, almost!”\u003c/p>\n\u003cp>As a precursor to cheerleading, Cecaci learned dancing at a studio in her neighborhood in East Oakland, “tap dancing and ballet, when I was eight or nine years old, in a studio in the Fruitvale on East 14th.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13840434\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.Program-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-520x361.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>She turned the page in her book again, pointing at young images of herself, standing next to the family’s 1930s truck. There was an image of her all dolled up, celebrating the Queen of the Holy Ghost, a Portuguese Tradition. And of course, her graduation portrait: Class of 1964, Fremont High School.\u003c/p>\n\u003cp>Cecaci only cheered for two years. A few years after graduating, Cecaci got married, had three children of her own, and eventually moved near Mills College. A career in education followed, including stints at Holy Names, Urban Promise Academy, and helping shape Northern California’s first Charter School, Oakland Charter Academy (OCA), originally called Jingletown Charter School. She retired earlier this year.\u003c/p>\n\u003cp>But in the early 1990s, her family sold the parcels of land where she grew up, and she cringes when talking about how much they got versus how much the recently built live-in-work lofts on that land are now selling for now.\u003c/p>\n\u003cp>The story of housing, culture and history especially hits home for Rita’s middle daughter, Elisa Cecaci, who just settled a long back-and-forth with a former landlord.\u003c/p>\n\u003cp>Elisa told me that after the landlord blatantly attempted to force her and her family out, she wisened up and went through the City Of Oakland’s Mortgage Assistance Program to purchase a home. While staying with her mother, she worked hard, saved money, raised her credit score, and then “our escrow closed on the same day the settlement ended,” she said.\u003c/p>\n\u003cp>The success of finding housing is bittersweet, added Elisa, who volunteers with the East Oakland Collective to bring food and resources to un-housed people.\u003c/p>\n\u003cp>“My story is the other side of displacement,” she said of the crisis in Oakland. “Yes, we were technically displaced, but we were intentional about not leaving.”\u003c/p>\n\u003cfigure id=\"attachment_13840437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-800x507.jpg\" alt=\"A land assessor's book for the city of Brooklyn (later Oakland), owned by Elise Cecaci.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-520x330.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A land assessor’s book for the city of Brooklyn (later Oakland), owned by Elisa Cecaci. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>oth Elisa and Rita agree that the issues in Oakland are manyfold: lack of housing, the broken school system, illegal dumping. And yes, even pro sports teams ditching Oakland for what they seem to think are brighter pastures.\u003c/p>\n\u003cp>“I think it’s a slap in the face,” said Elisa. “The Warriors and the Raiders are going to other places—I’m not super big on sports, and definitely have issues with the NFL, but in Oakland, we go hard for our teams.”\u003c/p>\n\u003cp>And intertwined with the identity of the sports teams is the political and cultural identity of the Town.\u003c/p>\n\u003cp>Elisa gets that. She said she works for “gentrifiers” as a nanny, and is clear about her efforts to bridge the gap between the new community and the people who’ve been here. She laughed as she told me that she often wears political shirts to work, ones that say “Oakland Against Gentrification” and “Condos and Tent Cities Everywhere I Look.”\u003c/p>\n\u003cp>One day while leaving the house where she works, she saw a pile of things that had been discarded, evidently from someone moving out abruptly. From that pile stood out a leather bound book that read “Brooklyn” on the cover. She didn’t have to turn through the tattered pages of the book for long before she realized it was a City Assessors book from the 1890s; back when East Oakland was called Brooklyn.\u003c/p>\n\u003cp>“You should give it to the City of Oakland,” one friend told Elisa.\u003c/p>\n\u003cp>She replied, “I \u003cem>am\u003c/em> the city of Oakland.”\u003c/p>\n\u003cp>When she sent me some images from that book, and as I stared at the photos on my phone, my mind wandered into what it’d be like to jump into those pictures.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "honoring-lost-leaders-at-all-my-usos-a-polynesian-community-bbq-in-bayview",
"title": "Honoring Lost Leaders at 'All My Usos,' a Polynesian Community BBQ in Bayview",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I walked into Gilman Park in San Francisco’s Bayview neighborhood, it was just like that classic scene from the movie \u003cem>Poetic Justice\u003c/em>. You know, the one where Tupac Shakur’s character, Lucky, enters a park full of people he doesn’t know and is accepted with open arms into the Johnson family reunion after introducing himself as “Cousin Pete.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The only difference was that the folks at the 4th annual All My Usos BBQ, a celebration organized by the Polynesian community in San Francisco, opened their arms to me before I had the chance to introduce myself.\u003c/p>\n\u003cp>It probably helped that I was with Jean Melesaine, a well-known photographer, sister of the community and product of the same soil on which we walked. Melesaine hugged people that she called auntie and kissed community cousins on the cheek, introducing me thereafter. I followed along as she moved through the crowd: tall with a warm smile, Canon camera securely strapped over her shoulder, her long black hair braided in two cornrows that draped down the back of her “Polynesian Panthers” T-shirt.\u003c/p>\n\u003cp>Melesaine has attended this annual barbecue for years, but this one was different. Key folks were missing.\u003c/p>\n\u003cfigure id=\"attachment_13839974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>ome of the people Melesaine expected to see were at the hospital, she told me, alongside Joseph Taeotui, who had been shot multiple times that week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taeotui, I learned, is also commonly referred to as “Jungle Joe,” a community organizer who lived in the trenches and connected with the young people of the community. He helped to organize community events, including this one. He also worked on anti-violence campaigns; the day he got shot, he was reportedly coming from a community meeting on how to stop gun violence.\u003c/p>\n\u003cp>Adding to the heavy hearts around Jungle Joe’s life hanging in balance was the recent death of JT Mauia, one of the founders of this annual gathering, who died of cancer earlier this summer.\u003c/p>\n\u003cfigure id=\"attachment_13839977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839977\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.cigar_-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nonetheless, the sun somehow pierced through the heavy fog of southeastern San Francisco before noon, and gently glistened off the parked motorcycles of the Pacific Savagez bike club. Kids got free haircuts and face-paint jobs. Some folks shot hoops, others played catch with a football. It was the first time I attended a barbecue where a rugby ball was tossed around.\u003c/p>\n\u003cp>Before the food was served, someone turned down the sound of classic R&B as attendees gathered in prayer. The emcee opened with a bit of history.\u003c/p>\n\u003cp>“I’m going to take it way back to the ’70s, when we had Flag Day. We came to rally in a circle,” he said. “Now we’ve created this because it’s a blessing to see everyone together.”\u003c/p>\n\u003cp>He then spoke a few words in Samoan, before continuing in English. “‘All My Usuos’ stands for all my brothers. ‘All’ defines all different cultures. It has no race on it. All you guys are my brothers. No matter what walk of life you come from, you are all my brothers. It’s not just about being Polynesian, but it is important to remember who you are and where you come from.”\u003c/p>\n\u003cfigure id=\"attachment_13839975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.game_-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a few more words in Samoan, he passed the microphone to a gentleman named Pastor Lucky, who said a prayer for JT and Jungle Joe, quoted Mathews 5:16, and then blessed the food for everyone in the park—including the people who brought a Raiders tent.\u003c/p>\n\u003cp>As I stood in line to get food, someone asked, “Who made the potato salad?”—and my heart warmed. If my eyes had been closed, I would’ve thought I was at my own family reunion.\u003c/p>\n\u003cp>It had dawned on me: Melesaine and I aren’t too different.\u003c/p>\n\u003cp>With her ever-present camera, she’s a documentarian of a community that is in flux. A significant number of Samoans in San Francisco live in the same projects that house a large percentage of its African Americans, and they’re going through the same battles of gentrifying forces from the outside and community violence from within.\u003c/p>\n\u003cfigure id=\"attachment_13839976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.selfies-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with Melesaine, I learned that a lot of Samoans are Mormon, far from their indigenous religion; similar to how a large percentage of people with African lineage are disconnected from our indigenous religions. In fact, Melesaine’s father originally came to the states to plant the palm tress that line the Mormon Temple on the hillside of East Oakland.\u003c/p>\n\u003cp>She also told me that a lot of Samoans from American Samoa (not to be confused with the Independent State of Samoa) came to the mainland United States in order to get involved in the armed forces; that’s how a large number of people ended up in Bayview and Hunters Point, which is adjacent to the now-defunct Navy Shipyard.\u003c/p>\n\u003cp>Even her “Polynesian Panther” shirt was a sign that our ancestral roots come from land that sits on two different oceans. But like myself, Melesaine is a student of the streets as well as the classroom. While our childhoods were spent on two different sides of the Bay Area, our struggles aren’t too far removed.\u003c/p>\n\u003cfigure id=\"attachment_13839972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839972\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.Prince-800x534.jpg\" alt=\"Prince White.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince White. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>ays later, the unfortunate news came the Jungle Joe had passed. The very next day I got word that Prince White, an organizer and activist in my community in Oakland, who’d been in the hospital battling a very rare autoimmune disease, had succumbed to his illness.\u003c/p>\n\u003cp>In addition to being a father and a husband, White worked with the Urban Peace Movement and led the \u003ca href=\"https://unitedrootsoakland.org/determination-black-mens-group-boys-men-of-color-media-engagement/\" target=\"_blank\" rel=\"noopener noreferrer\">DetermiNation Black Men’s Group\u003c/a>, “tailored to support young men who are struggling to advance in their own life goals and who have been formerly involved in or are currently in close proximity to the ‘street life.'” White also worked on the 1,400 Jobs for Freedom Campaign in Alameda County to employ the formerly incarcerated, and avidly fought for the release of a young man named Dajon Ford, who was arrested at age 17 but tried as an adult.\u003c/p>\n\u003cp>I knew White for only a few years, and I never met Jungle Joe. But I see parallels in their stories; just as I see commonalities between Melesaine and myself.\u003c/p>\n\u003cp>When I got word that White had passed, I went into my photo archives. I knew exactly where my photos of him were. I shared them on social media with words expressing condolences to his friends and family.\u003c/p>\n\u003cp>When Melesaine got word that Jungle Joe had passed, she did the same thing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I walked into Gilman Park in San Francisco’s Bayview neighborhood, it was just like that classic scene from the movie \u003cem>Poetic Justice\u003c/em>. You know, the one where Tupac Shakur’s character, Lucky, enters a park full of people he doesn’t know and is accepted with open arms into the Johnson family reunion after introducing himself as “Cousin Pete.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The only difference was that the folks at the 4th annual All My Usos BBQ, a celebration organized by the Polynesian community in San Francisco, opened their arms to me before I had the chance to introduce myself.\u003c/p>\n\u003cp>It probably helped that I was with Jean Melesaine, a well-known photographer, sister of the community and product of the same soil on which we walked. Melesaine hugged people that she called auntie and kissed community cousins on the cheek, introducing me thereafter. I followed along as she moved through the crowd: tall with a warm smile, Canon camera securely strapped over her shoulder, her long black hair braided in two cornrows that draped down the back of her “Polynesian Panthers” T-shirt.\u003c/p>\n\u003cp>Melesaine has attended this annual barbecue for years, but this one was different. Key folks were missing.\u003c/p>\n\u003cfigure id=\"attachment_13839974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>ome of the people Melesaine expected to see were at the hospital, she told me, alongside Joseph Taeotui, who had been shot multiple times that week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taeotui, I learned, is also commonly referred to as “Jungle Joe,” a community organizer who lived in the trenches and connected with the young people of the community. He helped to organize community events, including this one. He also worked on anti-violence campaigns; the day he got shot, he was reportedly coming from a community meeting on how to stop gun violence.\u003c/p>\n\u003cp>Adding to the heavy hearts around Jungle Joe’s life hanging in balance was the recent death of JT Mauia, one of the founders of this annual gathering, who died of cancer earlier this summer.\u003c/p>\n\u003cfigure id=\"attachment_13839977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839977\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.cigar_-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nonetheless, the sun somehow pierced through the heavy fog of southeastern San Francisco before noon, and gently glistened off the parked motorcycles of the Pacific Savagez bike club. Kids got free haircuts and face-paint jobs. Some folks shot hoops, others played catch with a football. It was the first time I attended a barbecue where a rugby ball was tossed around.\u003c/p>\n\u003cp>Before the food was served, someone turned down the sound of classic R&B as attendees gathered in prayer. The emcee opened with a bit of history.\u003c/p>\n\u003cp>“I’m going to take it way back to the ’70s, when we had Flag Day. We came to rally in a circle,” he said. “Now we’ve created this because it’s a blessing to see everyone together.”\u003c/p>\n\u003cp>He then spoke a few words in Samoan, before continuing in English. “‘All My Usuos’ stands for all my brothers. ‘All’ defines all different cultures. It has no race on it. All you guys are my brothers. No matter what walk of life you come from, you are all my brothers. It’s not just about being Polynesian, but it is important to remember who you are and where you come from.”\u003c/p>\n\u003cfigure id=\"attachment_13839975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.game_-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a few more words in Samoan, he passed the microphone to a gentleman named Pastor Lucky, who said a prayer for JT and Jungle Joe, quoted Mathews 5:16, and then blessed the food for everyone in the park—including the people who brought a Raiders tent.\u003c/p>\n\u003cp>As I stood in line to get food, someone asked, “Who made the potato salad?”—and my heart warmed. If my eyes had been closed, I would’ve thought I was at my own family reunion.\u003c/p>\n\u003cp>It had dawned on me: Melesaine and I aren’t too different.\u003c/p>\n\u003cp>With her ever-present camera, she’s a documentarian of a community that is in flux. A significant number of Samoans in San Francisco live in the same projects that house a large percentage of its African Americans, and they’re going through the same battles of gentrifying forces from the outside and community violence from within.\u003c/p>\n\u003cfigure id=\"attachment_13839976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.selfies-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with Melesaine, I learned that a lot of Samoans are Mormon, far from their indigenous religion; similar to how a large percentage of people with African lineage are disconnected from our indigenous religions. In fact, Melesaine’s father originally came to the states to plant the palm tress that line the Mormon Temple on the hillside of East Oakland.\u003c/p>\n\u003cp>She also told me that a lot of Samoans from American Samoa (not to be confused with the Independent State of Samoa) came to the mainland United States in order to get involved in the armed forces; that’s how a large number of people ended up in Bayview and Hunters Point, which is adjacent to the now-defunct Navy Shipyard.\u003c/p>\n\u003cp>Even her “Polynesian Panther” shirt was a sign that our ancestral roots come from land that sits on two different oceans. But like myself, Melesaine is a student of the streets as well as the classroom. While our childhoods were spent on two different sides of the Bay Area, our struggles aren’t too far removed.\u003c/p>\n\u003cfigure id=\"attachment_13839972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839972\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.Prince-800x534.jpg\" alt=\"Prince White.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince White. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>ays later, the unfortunate news came the Jungle Joe had passed. The very next day I got word that Prince White, an organizer and activist in my community in Oakland, who’d been in the hospital battling a very rare autoimmune disease, had succumbed to his illness.\u003c/p>\n\u003cp>In addition to being a father and a husband, White worked with the Urban Peace Movement and led the \u003ca href=\"https://unitedrootsoakland.org/determination-black-mens-group-boys-men-of-color-media-engagement/\" target=\"_blank\" rel=\"noopener noreferrer\">DetermiNation Black Men’s Group\u003c/a>, “tailored to support young men who are struggling to advance in their own life goals and who have been formerly involved in or are currently in close proximity to the ‘street life.'” White also worked on the 1,400 Jobs for Freedom Campaign in Alameda County to employ the formerly incarcerated, and avidly fought for the release of a young man named Dajon Ford, who was arrested at age 17 but tried as an adult.\u003c/p>\n\u003cp>I knew White for only a few years, and I never met Jungle Joe. But I see parallels in their stories; just as I see commonalities between Melesaine and myself.\u003c/p>\n\u003cp>When I got word that White had passed, I went into my photo archives. I knew exactly where my photos of him were. I shared them on social media with words expressing condolences to his friends and family.\u003c/p>\n\u003cp>When Melesaine got word that Jungle Joe had passed, she did the same thing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "when-is-a-movie-theater-more-than-just-a-movie-theater",
"title": "When is a Movie Theater More Than Just a Movie Theater?",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Oct. 15, 2008, as voters across the country tuned in to the third and final presidential debate between then-senators Barack Obama and John McCain, I was wedged precariously into the backseat of a coworker’s car with three other people as the driver careened around the block near the Parkway Speakeasy Theater in Oakland, looking for a parking spot.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>We’d left early that day from the tiny Berkeley publishing house where we all worked in order to get seats at the Parkway, which was screening the debate. Our driver eventually dropped us off to snag a good couch while she parked; by the time she plopped down next to us, it’s likely we’d collectively downed at least one pitcher of beer.\u003c/p>\n\u003cp>With ten years’ hindsight, this debate is mostly remembered as the one where McCain invoked “Joe the Plumber”—the regular-guy small business owner who would ostensibly be ruined by Obama’s ostensibly socialist tax plan. But the main thing I remember is people were drunk, hollering, and throwing popcorn at the screen by about 15 minutes in. The irreverence was gleeful, contagious; the heckling matched any I’ve seen in the bleachers at the Oakland Coliseum. Around us, people ate pizza and spilled drinks; our shoes stuck to the floor. (The old Parkway, for readers who only know of its new incarnation, was a little gross in its latter years. This was, you see, part of its charm.)\u003c/p>\n\u003cp>I don’t recall leaving that evening. But I do remember looking around during the debate and thinking, \u003cem>Man, I love this place\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Six months later, the Parkway closed for good.\u003c/p>\n\u003cfigure id=\"attachment_13839905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-800x572.jpg\" alt=\"Boots Riley (at right) at the premiere of 'Sorry to Bother You' at the Grand Lake Theatre, April 12, 2018, with cast members Michael X. Sommers, Terry Crews and Jermaine Fowler (L–R).\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1200x858.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-520x372.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley (at right) at the premiere of ‘Sorry to Bother You’ at the Grand Lake Theatre, April 12, 2018, with cast members Michael X. Sommers, Terry Crews and Jermaine Fowler (L–R). \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen is a movie theater more than just a movie theater?\u003c/p>\n\u003cp>This question was on my mind with the welcome news that Oakland’s Grand Lake Theatre, the 1926 movie house near Lake Merritt, has \u003ca href=\"https://www.sfchronicle.com/movies/article/Oakland-s-Grand-Lake-Theatre-purchased-will-13181330.php\" target=\"_blank\" rel=\"noopener noreferrer\">been sold outright\u003c/a> to its longtime leaseholder, Allen Michaan. The new owner, who purchased the building for $3.75 million, has plans to seek landmark status for the theater in the National Register of Historic Places, further protecting it from the rapid development that’s swept much of Oakland over the past decade.\u003c/p>\n\u003cp>On top of its architecture and spectacular, ornate interiors, the Grand Lake has always played a special role in Oakland. For one, its marquee could be counted on for candid messages of political protest well before our current president was elected. When I lived nearby, it always made me proud to see what particular anti-war or anti-imperialist message it might bear on a given day. In recent years, as so many businesses and brands struggle to strike a tone that conveys dissent without alienating conservatives, such frankness has felt not just refreshing, but vital.\u003c/p>\n\u003cp>And then there’s the cyclical role the theater has played in filmmaking itself.\u003c/p>\n\u003cfigure id=\"attachment_13825675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/24-800x533.jpg\" alt=\"Director Ryan Coogler speaking at the Grand Lake Theater with members of the cast and crew of 'Fruitvale Station' (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) on the night of the premiere.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Ryan Coogler speaking at the Grand Lake Theatre with members of the cast and crew of ‘Fruitvale Station’ (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) at the premiere on June 20, 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past year, a trio of Oakland-based and/or Oakland-made films has meant huge box office numbers for the Grand Lake. Chronologically by release, that’d be \u003cem>Black Panther\u003c/em>, \u003cem>Sorry To Bother You\u003c/em>, and \u003cem>Blindspotting; \u003c/em>Michaan told reporters the sale was possible in part because of that windfall. That’s sweet and satisfying, but it’s also not serendipitous: those films meant good business for the Grand Lake in large part because their filmmakers specifically chose to drive business to the theater—\u003cem>because\u003c/em> of its importance in the community—by holding blowout premieres there aimed at locals.\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em> director Ryan Coogler surprised one audience with a pre-film talk, mentioning how he saw \u003cem>Boyz n the Hood\u003c/em> at the Grand Lake as a kid, while Boots Riley mentioned at his premiere screening of \u003cem>Sorry to Bother You\u003c/em> how, as a young teenager, he’d rushed to the Grand Lake to watch \u003cem>Krush Groove\u003c/em>.\u003c/p>\n\u003cp>Film begetting filmmakers. Community begetting community.\u003c/p>\n\u003cp>“I think it’s a movie you need to see with other people,” Riley \u003ca href=\"https://pitchfork.com/features/interview/boots-riley-breaks-down-the-savvy-radicalism-of-his-directorial-debut-sorry-to-bother-you/\" target=\"_blank\" rel=\"noopener noreferrer\">told me\u003c/a> of his film, shortly after its Grand Lake premiere for the San Francisco International Film Festival—the first centerpiece screening to be held in the East Bay in the festival’s existence. “It’s something you need to feel with other people … it’s not something I planned for people to watch on their laptop.”\u003c/p>\n\u003cp>It’s an event, in other words. Online streaming services are convenient, yes. But the experience of sitting in a darkened room with other human beings, most of them strangers, all in a place of deep vulnerability together, all suspending disbelief together, all taking a trip together with one piece of art on one big screen? Forget convenience. That’s \u003cem>sacred\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13839906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839906\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-800x450.jpg\" alt=\"The marquee of the Grand Lake Theatre, which often hosts political messages.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup.jpg 1291w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The marquee of the Grand Lake Theatre, which often hosts political messages. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>o you remember the first movie you ever saw in the theater? I don’t. I’m told it was \u003cem>Willow\u003c/em>, and I fell asleep.\u003c/p>\n\u003cp>To be sure, we’ve all had plenty of forgettable movie-going experiences. You know the ones: times when you feel part of a cattle call, there in line to spend $25 on fake butter and soda, all too aware of the multiplex not as a physical space but a concept—the undignified end of a corporate conveyor belt that needs you, the consumer, to not think too hard about what came before, or who’s profiting afterward.\u003c/p>\n\u003cp>But then there are the other times: times you experience cinematic magic, at a theater you will love \u003cem>from that point on\u003c/em>—because the space became personal, served as the setting for a feeling that can’t be duplicated. The Castro Theatre, with its organist, screening \u003cem>Vertigo\u003c/em> annually, then turning around and hosting hundreds of adults in taffeta for a \u003cem>The Little Mermaid\u003c/em> sing-alongs. The Roxie Theatre, with its old-school projectionists, deciding, sure, let’s have people bring their dogs to \u003cem>Isle of Dogs\u003c/em>. I think a lot about the Oaks Theatre, at the top of Solano Ave. in Berkeley, a historic space that at one point employed a half-dozen of my high school friends. I think about a photo of a couple of them grinning, standing in front of the marquee, where a manager had spelled out their names on graduation day.\u003c/p>\n\u003cp>The fact that the Oaks closed in 2010—last I checked, its space is slated to become a climbing gym—is far from an anomaly. It’s hardly news that the movie theater business has struggled to keep up since the advent of on-demand streaming, while independent movie houses, without the \u003cem>Star Wars\u003c/em> and \u003cem>Jurassic World\u003c/em> blockbusters to bring in the big bucks, get the shortest end of every stick.\u003c/p>\n\u003cp>And, as a consumer, it’s all too easy to understand the trend. I have Netflix, and Hulu, and my parents’ HBO Go password at the ready.\u003c/p>\n\u003cp>But when I think on why the Grand Lake news feels so damn triumphant, I also remember being 8 years old—when, during the \u003ca href=\"https://www.solanoavenueassn.org/events/solano-avenue-stroll/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Stroll\u003c/a>, if you weren’t the kind of kid to be in a marching band or dance troupe that actually took part in the bright, loud parade, you were likely the kind of kid who could be found at the Oaks. There, in the dark, you could stuff yourself with candy, surrounded by other kids more entranced by a movie screen than a dunk tank, watching the classic cartoons they played all day for free, just that day, once a year.\u003c/p>\n\u003cp>Who knows? Maybe some of them grew up to make movies too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Oct. 15, 2008, as voters across the country tuned in to the third and final presidential debate between then-senators Barack Obama and John McCain, I was wedged precariously into the backseat of a coworker’s car with three other people as the driver careened around the block near the Parkway Speakeasy Theater in Oakland, looking for a parking spot.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>We’d left early that day from the tiny Berkeley publishing house where we all worked in order to get seats at the Parkway, which was screening the debate. Our driver eventually dropped us off to snag a good couch while she parked; by the time she plopped down next to us, it’s likely we’d collectively downed at least one pitcher of beer.\u003c/p>\n\u003cp>With ten years’ hindsight, this debate is mostly remembered as the one where McCain invoked “Joe the Plumber”—the regular-guy small business owner who would ostensibly be ruined by Obama’s ostensibly socialist tax plan. But the main thing I remember is people were drunk, hollering, and throwing popcorn at the screen by about 15 minutes in. The irreverence was gleeful, contagious; the heckling matched any I’ve seen in the bleachers at the Oakland Coliseum. Around us, people ate pizza and spilled drinks; our shoes stuck to the floor. (The old Parkway, for readers who only know of its new incarnation, was a little gross in its latter years. This was, you see, part of its charm.)\u003c/p>\n\u003cp>I don’t recall leaving that evening. But I do remember looking around during the debate and thinking, \u003cem>Man, I love this place\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Six months later, the Parkway closed for good.\u003c/p>\n\u003cfigure id=\"attachment_13839905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-800x572.jpg\" alt=\"Boots Riley (at right) at the premiere of 'Sorry to Bother You' at the Grand Lake Theatre, April 12, 2018, with cast members Michael X. Sommers, Terry Crews and Jermaine Fowler (L–R).\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1200x858.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-520x372.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley (at right) at the premiere of ‘Sorry to Bother You’ at the Grand Lake Theatre, April 12, 2018, with cast members Michael X. Sommers, Terry Crews and Jermaine Fowler (L–R). \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen is a movie theater more than just a movie theater?\u003c/p>\n\u003cp>This question was on my mind with the welcome news that Oakland’s Grand Lake Theatre, the 1926 movie house near Lake Merritt, has \u003ca href=\"https://www.sfchronicle.com/movies/article/Oakland-s-Grand-Lake-Theatre-purchased-will-13181330.php\" target=\"_blank\" rel=\"noopener noreferrer\">been sold outright\u003c/a> to its longtime leaseholder, Allen Michaan. The new owner, who purchased the building for $3.75 million, has plans to seek landmark status for the theater in the National Register of Historic Places, further protecting it from the rapid development that’s swept much of Oakland over the past decade.\u003c/p>\n\u003cp>On top of its architecture and spectacular, ornate interiors, the Grand Lake has always played a special role in Oakland. For one, its marquee could be counted on for candid messages of political protest well before our current president was elected. When I lived nearby, it always made me proud to see what particular anti-war or anti-imperialist message it might bear on a given day. In recent years, as so many businesses and brands struggle to strike a tone that conveys dissent without alienating conservatives, such frankness has felt not just refreshing, but vital.\u003c/p>\n\u003cp>And then there’s the cyclical role the theater has played in filmmaking itself.\u003c/p>\n\u003cfigure id=\"attachment_13825675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/24-800x533.jpg\" alt=\"Director Ryan Coogler speaking at the Grand Lake Theater with members of the cast and crew of 'Fruitvale Station' (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) on the night of the premiere.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Ryan Coogler speaking at the Grand Lake Theatre with members of the cast and crew of ‘Fruitvale Station’ (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) at the premiere on June 20, 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past year, a trio of Oakland-based and/or Oakland-made films has meant huge box office numbers for the Grand Lake. Chronologically by release, that’d be \u003cem>Black Panther\u003c/em>, \u003cem>Sorry To Bother You\u003c/em>, and \u003cem>Blindspotting; \u003c/em>Michaan told reporters the sale was possible in part because of that windfall. That’s sweet and satisfying, but it’s also not serendipitous: those films meant good business for the Grand Lake in large part because their filmmakers specifically chose to drive business to the theater—\u003cem>because\u003c/em> of its importance in the community—by holding blowout premieres there aimed at locals.\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em> director Ryan Coogler surprised one audience with a pre-film talk, mentioning how he saw \u003cem>Boyz n the Hood\u003c/em> at the Grand Lake as a kid, while Boots Riley mentioned at his premiere screening of \u003cem>Sorry to Bother You\u003c/em> how, as a young teenager, he’d rushed to the Grand Lake to watch \u003cem>Krush Groove\u003c/em>.\u003c/p>\n\u003cp>Film begetting filmmakers. Community begetting community.\u003c/p>\n\u003cp>“I think it’s a movie you need to see with other people,” Riley \u003ca href=\"https://pitchfork.com/features/interview/boots-riley-breaks-down-the-savvy-radicalism-of-his-directorial-debut-sorry-to-bother-you/\" target=\"_blank\" rel=\"noopener noreferrer\">told me\u003c/a> of his film, shortly after its Grand Lake premiere for the San Francisco International Film Festival—the first centerpiece screening to be held in the East Bay in the festival’s existence. “It’s something you need to feel with other people … it’s not something I planned for people to watch on their laptop.”\u003c/p>\n\u003cp>It’s an event, in other words. Online streaming services are convenient, yes. But the experience of sitting in a darkened room with other human beings, most of them strangers, all in a place of deep vulnerability together, all suspending disbelief together, all taking a trip together with one piece of art on one big screen? Forget convenience. That’s \u003cem>sacred\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13839906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839906\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-800x450.jpg\" alt=\"The marquee of the Grand Lake Theatre, which often hosts political messages.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup.jpg 1291w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The marquee of the Grand Lake Theatre, which often hosts political messages. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>o you remember the first movie you ever saw in the theater? I don’t. I’m told it was \u003cem>Willow\u003c/em>, and I fell asleep.\u003c/p>\n\u003cp>To be sure, we’ve all had plenty of forgettable movie-going experiences. You know the ones: times when you feel part of a cattle call, there in line to spend $25 on fake butter and soda, all too aware of the multiplex not as a physical space but a concept—the undignified end of a corporate conveyor belt that needs you, the consumer, to not think too hard about what came before, or who’s profiting afterward.\u003c/p>\n\u003cp>But then there are the other times: times you experience cinematic magic, at a theater you will love \u003cem>from that point on\u003c/em>—because the space became personal, served as the setting for a feeling that can’t be duplicated. The Castro Theatre, with its organist, screening \u003cem>Vertigo\u003c/em> annually, then turning around and hosting hundreds of adults in taffeta for a \u003cem>The Little Mermaid\u003c/em> sing-alongs. The Roxie Theatre, with its old-school projectionists, deciding, sure, let’s have people bring their dogs to \u003cem>Isle of Dogs\u003c/em>. I think a lot about the Oaks Theatre, at the top of Solano Ave. in Berkeley, a historic space that at one point employed a half-dozen of my high school friends. I think about a photo of a couple of them grinning, standing in front of the marquee, where a manager had spelled out their names on graduation day.\u003c/p>\n\u003cp>The fact that the Oaks closed in 2010—last I checked, its space is slated to become a climbing gym—is far from an anomaly. It’s hardly news that the movie theater business has struggled to keep up since the advent of on-demand streaming, while independent movie houses, without the \u003cem>Star Wars\u003c/em> and \u003cem>Jurassic World\u003c/em> blockbusters to bring in the big bucks, get the shortest end of every stick.\u003c/p>\n\u003cp>And, as a consumer, it’s all too easy to understand the trend. I have Netflix, and Hulu, and my parents’ HBO Go password at the ready.\u003c/p>\n\u003cp>But when I think on why the Grand Lake news feels so damn triumphant, I also remember being 8 years old—when, during the \u003ca href=\"https://www.solanoavenueassn.org/events/solano-avenue-stroll/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Stroll\u003c/a>, if you weren’t the kind of kid to be in a marching band or dance troupe that actually took part in the bright, loud parade, you were likely the kind of kid who could be found at the Oaks. There, in the dark, you could stuff yourself with candy, surrounded by other kids more entranced by a movie screen than a dunk tank, watching the classic cartoons they played all day for free, just that day, once a year.\u003c/p>\n\u003cp>Who knows? Maybe some of them grew up to make movies too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Players Who Put the 'Oakland' in the Oakland A's (and the Rest of Baseball)",
"headTitle": "The Players Who Put the ‘Oakland’ in the Oakland A’s (and the Rest of Baseball) | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s I write this, the Oakland A’s are eyeing not only a playoff spot, but a Western Division Championship. This historic season, their 51st in Oakland, has been nothing short of magical: consistent late-game heroics, a thrilling no-hitter, and much more to inspire fair-weather fans to break out their green and gold and jump aboard the bandwagon as we head toward October.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>For us A’s fans, we’ve been here before. We’ve had that sense of uplift in the fall, and then that all-too familiar sinking feeling in October. And, constant as the stars, we keep returning to the Coliseum, year in and year out, sticking by this team.\u003c/p>\n\u003cp>After 50 years in Oakland, it’s time to look back at what the team’s contributions to baseball. And, as the major leagues slowly \u003ca href=\"https://www.vox.com/2016/10/27/13416798/cubs-dodgers-baseball-white-diverse\" target=\"_blank\" rel=\"noopener noreferrer\">lose African American players\u003c/a>, it’s especially time to recognize what the A’s have meant to the black community at large.\u003c/p>\n\u003cfigure id=\"attachment_13839224\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-800x535.jpg\" alt=\"The Oakland Library's Dorothy Lazard with an exhibition commemorating the A's 50 years in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Library’s Dorothy Lazard with an exhibition commemorating the A’s 50 years in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> leaned over in the 100-plus year-old chair and asked Oakland Library historian Dorothy Lazard if it’s possible to tell the story of baseball, America’s great pastime, without mentioning Oakland—specifically, the black community in Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No!” she immediately replied. “We had some amazing black players on our championship teams,” mentioning Reggie Jackson and Vida Blue, vital parts of the trio of championships the A’s won in the early ’70s. Then she drove her point home: “You know, Curt Flood is from Oakland. Curt Flood is the reason we have free agency!”\u003c/p>\n\u003cp>Curt Flood was the longtime St. Louis Cardinals player who fought for pro baseball players to have the right to be free agents. Prior to his case, which was decided by the Supreme Court, players had lifetime contracts, and only switched teams when owners traded or sold their rights to another squad.\u003c/p>\n\u003cp>Lazard could’ve stopped there. Her point was proven. I mean, who’d think Flood, a kid who went to little ol’ McClymonds High School in West Oakland, would change the business of professional sports?\u003c/p>\n\u003cp>But then, even more so, who’d think one of his schoolmates who he walked past in the hallway, Frank Robinson, would become the first African American manager in baseball history?\u003c/p>\n\u003cp>Right. So you could stop there and the point would be proven: You can’t talk about professional baseball in America without talking about the African American community in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13839299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/AsHammer-800x533.jpg\" alt=\"Edwin Jackson and Khris Davis show off their African American Heritage Night baseball caps with MC Hammer (L–R) at the Coliseum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Jackson and Khris Davis show off their African American Heritage Night baseball caps with MC Hammer (L–R) at the Coliseum. \u003ccite>(Courtesy Oakland Athletics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But then, again, you’d be missing the story of Rickey Henderson, the Oakland-bred MLB record holder for stolen bases, famously quoted as saying, “Everything I know about stealing, I learned in Oakland.” Henderson, considered by many the greatest leadoff hitter in baseball history, is a graduate of Oakland Tech, and now has a field there named in his honor—in addition to the diamond where the A’s play, which bears his name.\u003c/p>\n\u003cp>There’s more. Like the story of an Oakland kid named Dave Stewart, who grew to be a Cy Young Award-winning A’s pitcher, who’s part of the A’s Black Aces club—a group of African American A’s hurlers who won 20 games or more in a season.\u003c/p>\n\u003cp>There’s Bip Roberts, Jermaine Dye and so many more.\u003c/p>\n\u003cp>I’d even give honorable mentions to Jimmy Rollins, Dontrelle Willis and Willie Stargell; all were Alameda residents, technically. But we all know: to leave Alameda, you’ve got to go through Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13839222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/As.FamilyinStands-800x601.jpg\" alt=\"A's fans Saleem Shakir, Shefali Shah and Amari Shah-Shakir (L–R) at African American Heritage Night at the Coliseum.\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.FamilyinStands.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.FamilyinStands-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.FamilyinStands-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.FamilyinStands-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.FamilyinStands-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.FamilyinStands-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A’s fans Saleem Shakir, Shefali Shah and Amari Shah-Shakir (L–R) at African American Heritage Night at the Coliseum. \u003ccite>(Saleem Shakir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there are the stories of African American ballplayers who weren’t from here, but played here—and played a significant role. Like Jimmy Claxton, arguably the first black professional ballplayer in the modern era. On May 28, 1916, over three decades before Jackie Robinson took the field in a Brooklyn Dodgers uniform, Claxton donned the uniform of the Pacific Coast League’s Oakland Oaks—the franchise that called this area home prior to the A’s. (The Oaks used to play at the old Oakland Baseball Park; the site is now the Pixar campus in Emeryville.)\u003c/p>\n\u003cp>Claxton, who was initially thought by team management to be Native American, reportedly played two games before his African American ancestry was discovered, prompting his release. But it was too late. Not only was he in the record books as being a professional ballplayer, his photo had been taken and placed on a trading card from the Zeenut company.\u003c/p>\n\u003cp>You also might include Vada Pinson, another McClymonds High kid who went on to a great MLB career playing 18 seasons, most notably for the Cincinnati Reds. He never did play for the A’s, but his heart stayed here; he died in Oakland in 1995.\u003c/p>\n\u003cp>The history of African American ballplayers from Oakland, and those who’ve played in Oakland, runs deep. And it’s still going. The A’s currently have some great ones, including Khris Davis, who’s among the top home-run hitters in the league.\u003c/p>\n\u003cp>And there’s the current story of the Ross brothers, Joe and Tyson, childhood friends of mine who currently play pro ball. Back when Tyson played for the A’s, he wore the number 66, as a nod to the diamond on 66th Avenue, Greenman Field, where we used to play tee-ball together.\u003c/p>\n\u003cfigure id=\"attachment_13839226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839226\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton-800x576.jpg\" alt=\"A's fans Tasha Dial, Tiffany Stapleton, KaSelah Crockett and Monique Nichols (L–R) at African American Heritage Night at the Coliseum.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton-520x374.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A’s fans Tasha Dial, Tiffany Stapleton, KaSelah Crockett and Monique Nichols (L–R) at African American Heritage Night at the Coliseum. \u003ccite>(KaSelah Crockett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>eah, I used to play baseball. I was a second baseman, short and fast. And I studied those built like me—like Joe Morgan, an East Oakland kid who became a Hall of Famer. As a kid, I took pride in knowing all about African American ballplayers. After all, there weren’t—and still aren’t—too many of them.\u003c/p>\n\u003cp>So, when the Oakland A’s celebrated African American heritage last week during a game against the Dodgers, giving away hats with African print on the bill, I stood up and took notice.\u003c/p>\n\u003cp>On one hand, I knew it was a bit of a ploy to get black folks reinvested in baseball. But I also knew that the A’s have done some solid work in the community this year, and showing that they’re true to the slogan of being “rooted in Oakland.”\u003c/p>\n\u003cp>They’ve done community service and donated to causes. They’ve organized pick-up games at neighborhood ballparks (the next one is at 9am on Aug. 25 at Garfield Park, 2260 Foothill Blvd., in Oakland). Hell, they even made personal phone calls, inviting folks to the African American heritage night—both my mom and I got calls.\u003c/p>\n\u003cp>I don’t know how they got our numbers, but I do know that their efforts aren’t going unrecognized; there are new graffiti murals on major walls around Oakland dedicated to the A’s. On top of that, they have a really good ball team.\u003c/p>\n\u003cp>I watched the game from home, tuning in just as Joe Morgan was brought on as a guest announcer. He discussed being short and using it to his advantage. He talked about winning championships with the Reds, and his short stint with the A’s. And he touched on the African American community of Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13839298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/AsToni-800x533.jpg\" alt=\"Tony! Toni! Toné! performs the African American national anthem at the Coliseum for African American Heritage Night.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony! Toni! Toné! performs the African American national anthem at the Coliseum for African American Heritage Night. \u003ccite>(Courtesy Oakland Athletics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next day, I went down to the Oakland library, where there’s currently an exhibition dedicated to the anniversary of the A’s move to Oakland.\u003c/p>\n\u003cp>“Who curated this exhibit?” I asked in a library safe tone, as I walked into the history room.\u003c/p>\n\u003cp>“I did. You know I curate all the exhibits here,” Dorothy Lazard said with a smile.\u003c/p>\n\u003cp>As we walked through the room, she narrated her thinking behind the content in the three cases. Lazard had gathered A’s memorabilia, books and photos. She strategically put the lowlights of the steroid era next to the highlight of the Moneyball era. She wrote brief stories recapping how A’s mascot Stomper, “the white elephant,” came to be. She found a poster from the 1989 World Series against the Giants. She told me about the franchise’s former owner, the eccentric Charlie Finley, and how he paid players $300 extra if they grew mustaches.\u003c/p>\n\u003cp>And then I saw a news clipping that echoed Lazard’s sentiment about the value of Oakland’s African American community and African American ballplayers who’ve come through the Town.\u003c/p>\n\u003cfigure id=\"attachment_13839223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase-800x535.jpg\" alt=\"Part of the Oakland A's exhibit at the Oakland Library.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the Oakland A’s exhibit at the Oakland Library. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a piece published earlier this year by the \u003cem>East Bay Monthly\u003c/em>, Oakland A’s current President Dave Kaval was quoted as saying, “We’re thinking about doing a hall of fame as a part of the new stadium.” Kaval then said, “Especially to celebrate not just the A’s history, but just Oakland baseball history, back to the Oakland Oaks.”\u003c/p>\n\u003cp>There’s no new stadium yet. But this week, the A’s announced the opening of a hall of fame dedicated to Oakland ballplayers.\u003c/p>\n\u003cp>I hope the A’s get that new stadium soon. I hope they make it deep into the playoffs this year. And lastly, I hope that the Oakland baseball hall of fame opens its doors to all the great ballplayers who have roots in this area. How cool would it be to see an authentic Jimmy Claxton card enshrined there?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s I write this, the Oakland A’s are eyeing not only a playoff spot, but a Western Division Championship. This historic season, their 51st in Oakland, has been nothing short of magical: consistent late-game heroics, a thrilling no-hitter, and much more to inspire fair-weather fans to break out their green and gold and jump aboard the bandwagon as we head toward October.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>For us A’s fans, we’ve been here before. We’ve had that sense of uplift in the fall, and then that all-too familiar sinking feeling in October. And, constant as the stars, we keep returning to the Coliseum, year in and year out, sticking by this team.\u003c/p>\n\u003cp>After 50 years in Oakland, it’s time to look back at what the team’s contributions to baseball. And, as the major leagues slowly \u003ca href=\"https://www.vox.com/2016/10/27/13416798/cubs-dodgers-baseball-white-diverse\" target=\"_blank\" rel=\"noopener noreferrer\">lose African American players\u003c/a>, it’s especially time to recognize what the A’s have meant to the black community at large.\u003c/p>\n\u003cfigure id=\"attachment_13839224\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-800x535.jpg\" alt=\"The Oakland Library's Dorothy Lazard with an exhibition commemorating the A's 50 years in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.DorothyLibrary.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Library’s Dorothy Lazard with an exhibition commemorating the A’s 50 years in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> leaned over in the 100-plus year-old chair and asked Oakland Library historian Dorothy Lazard if it’s possible to tell the story of baseball, America’s great pastime, without mentioning Oakland—specifically, the black community in Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No!” she immediately replied. “We had some amazing black players on our championship teams,” mentioning Reggie Jackson and Vida Blue, vital parts of the trio of championships the A’s won in the early ’70s. Then she drove her point home: “You know, Curt Flood is from Oakland. Curt Flood is the reason we have free agency!”\u003c/p>\n\u003cp>Curt Flood was the longtime St. Louis Cardinals player who fought for pro baseball players to have the right to be free agents. Prior to his case, which was decided by the Supreme Court, players had lifetime contracts, and only switched teams when owners traded or sold their rights to another squad.\u003c/p>\n\u003cp>Lazard could’ve stopped there. Her point was proven. I mean, who’d think Flood, a kid who went to little ol’ McClymonds High School in West Oakland, would change the business of professional sports?\u003c/p>\n\u003cp>But then, even more so, who’d think one of his schoolmates who he walked past in the hallway, Frank Robinson, would become the first African American manager in baseball history?\u003c/p>\n\u003cp>Right. So you could stop there and the point would be proven: You can’t talk about professional baseball in America without talking about the African American community in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13839299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/AsHammer-800x533.jpg\" alt=\"Edwin Jackson and Khris Davis show off their African American Heritage Night baseball caps with MC Hammer (L–R) at the Coliseum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsHammer-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Jackson and Khris Davis show off their African American Heritage Night baseball caps with MC Hammer (L–R) at the Coliseum. \u003ccite>(Courtesy Oakland Athletics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But then, again, you’d be missing the story of Rickey Henderson, the Oakland-bred MLB record holder for stolen bases, famously quoted as saying, “Everything I know about stealing, I learned in Oakland.” Henderson, considered by many the greatest leadoff hitter in baseball history, is a graduate of Oakland Tech, and now has a field there named in his honor—in addition to the diamond where the A’s play, which bears his name.\u003c/p>\n\u003cp>There’s more. Like the story of an Oakland kid named Dave Stewart, who grew to be a Cy Young Award-winning A’s pitcher, who’s part of the A’s Black Aces club—a group of African American A’s hurlers who won 20 games or more in a season.\u003c/p>\n\u003cp>There’s Bip Roberts, Jermaine Dye and so many more.\u003c/p>\n\u003cp>I’d even give honorable mentions to Jimmy Rollins, Dontrelle Willis and Willie Stargell; all were Alameda residents, technically. But we all know: to leave Alameda, you’ve got to go through Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13839222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/As.FamilyinStands-800x601.jpg\" alt=\"A's fans Saleem Shakir, Shefali Shah and Amari Shah-Shakir (L–R) at African American Heritage Night at the Coliseum.\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.FamilyinStands.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.FamilyinStands-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.FamilyinStands-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.FamilyinStands-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.FamilyinStands-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.FamilyinStands-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A’s fans Saleem Shakir, Shefali Shah and Amari Shah-Shakir (L–R) at African American Heritage Night at the Coliseum. \u003ccite>(Saleem Shakir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there are the stories of African American ballplayers who weren’t from here, but played here—and played a significant role. Like Jimmy Claxton, arguably the first black professional ballplayer in the modern era. On May 28, 1916, over three decades before Jackie Robinson took the field in a Brooklyn Dodgers uniform, Claxton donned the uniform of the Pacific Coast League’s Oakland Oaks—the franchise that called this area home prior to the A’s. (The Oaks used to play at the old Oakland Baseball Park; the site is now the Pixar campus in Emeryville.)\u003c/p>\n\u003cp>Claxton, who was initially thought by team management to be Native American, reportedly played two games before his African American ancestry was discovered, prompting his release. But it was too late. Not only was he in the record books as being a professional ballplayer, his photo had been taken and placed on a trading card from the Zeenut company.\u003c/p>\n\u003cp>You also might include Vada Pinson, another McClymonds High kid who went on to a great MLB career playing 18 seasons, most notably for the Cincinnati Reds. He never did play for the A’s, but his heart stayed here; he died in Oakland in 1995.\u003c/p>\n\u003cp>The history of African American ballplayers from Oakland, and those who’ve played in Oakland, runs deep. And it’s still going. The A’s currently have some great ones, including Khris Davis, who’s among the top home-run hitters in the league.\u003c/p>\n\u003cp>And there’s the current story of the Ross brothers, Joe and Tyson, childhood friends of mine who currently play pro ball. Back when Tyson played for the A’s, he wore the number 66, as a nod to the diamond on 66th Avenue, Greenman Field, where we used to play tee-ball together.\u003c/p>\n\u003cfigure id=\"attachment_13839226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839226\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton-800x576.jpg\" alt=\"A's fans Tasha Dial, Tiffany Stapleton, KaSelah Crockett and Monique Nichols (L–R) at African American Heritage Night at the Coliseum.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/As.TiffanyStapleton-520x374.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A’s fans Tasha Dial, Tiffany Stapleton, KaSelah Crockett and Monique Nichols (L–R) at African American Heritage Night at the Coliseum. \u003ccite>(KaSelah Crockett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>eah, I used to play baseball. I was a second baseman, short and fast. And I studied those built like me—like Joe Morgan, an East Oakland kid who became a Hall of Famer. As a kid, I took pride in knowing all about African American ballplayers. After all, there weren’t—and still aren’t—too many of them.\u003c/p>\n\u003cp>So, when the Oakland A’s celebrated African American heritage last week during a game against the Dodgers, giving away hats with African print on the bill, I stood up and took notice.\u003c/p>\n\u003cp>On one hand, I knew it was a bit of a ploy to get black folks reinvested in baseball. But I also knew that the A’s have done some solid work in the community this year, and showing that they’re true to the slogan of being “rooted in Oakland.”\u003c/p>\n\u003cp>They’ve done community service and donated to causes. They’ve organized pick-up games at neighborhood ballparks (the next one is at 9am on Aug. 25 at Garfield Park, 2260 Foothill Blvd., in Oakland). Hell, they even made personal phone calls, inviting folks to the African American heritage night—both my mom and I got calls.\u003c/p>\n\u003cp>I don’t know how they got our numbers, but I do know that their efforts aren’t going unrecognized; there are new graffiti murals on major walls around Oakland dedicated to the A’s. On top of that, they have a really good ball team.\u003c/p>\n\u003cp>I watched the game from home, tuning in just as Joe Morgan was brought on as a guest announcer. He discussed being short and using it to his advantage. He talked about winning championships with the Reds, and his short stint with the A’s. And he touched on the African American community of Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13839298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/AsToni-800x533.jpg\" alt=\"Tony! Toni! Toné! performs the African American national anthem at the Coliseum for African American Heritage Night.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AsToni-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony! Toni! Toné! performs the African American national anthem at the Coliseum for African American Heritage Night. \u003ccite>(Courtesy Oakland Athletics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next day, I went down to the Oakland library, where there’s currently an exhibition dedicated to the anniversary of the A’s move to Oakland.\u003c/p>\n\u003cp>“Who curated this exhibit?” I asked in a library safe tone, as I walked into the history room.\u003c/p>\n\u003cp>“I did. You know I curate all the exhibits here,” Dorothy Lazard said with a smile.\u003c/p>\n\u003cp>As we walked through the room, she narrated her thinking behind the content in the three cases. Lazard had gathered A’s memorabilia, books and photos. She strategically put the lowlights of the steroid era next to the highlight of the Moneyball era. She wrote brief stories recapping how A’s mascot Stomper, “the white elephant,” came to be. She found a poster from the 1989 World Series against the Giants. She told me about the franchise’s former owner, the eccentric Charlie Finley, and how he paid players $300 extra if they grew mustaches.\u003c/p>\n\u003cp>And then I saw a news clipping that echoed Lazard’s sentiment about the value of Oakland’s African American community and African American ballplayers who’ve come through the Town.\u003c/p>\n\u003cfigure id=\"attachment_13839223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase-800x535.jpg\" alt=\"Part of the Oakland A's exhibit at the Oakland Library.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Ascloseupdisplaycase-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the Oakland A’s exhibit at the Oakland Library. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a piece published earlier this year by the \u003cem>East Bay Monthly\u003c/em>, Oakland A’s current President Dave Kaval was quoted as saying, “We’re thinking about doing a hall of fame as a part of the new stadium.” Kaval then said, “Especially to celebrate not just the A’s history, but just Oakland baseball history, back to the Oakland Oaks.”\u003c/p>\n\u003cp>There’s no new stadium yet. But this week, the A’s announced the opening of a hall of fame dedicated to Oakland ballplayers.\u003c/p>\n\u003cp>I hope the A’s get that new stadium soon. I hope they make it deep into the playoffs this year. And lastly, I hope that the Oakland baseball hall of fame opens its doors to all the great ballplayers who have roots in this area. How cool would it be to see an authentic Jimmy Claxton card enshrined there?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Trying to recall the first time I heard the voice of Aretha Franklin is like trying to recall when I first noticed the sky.\u003c/p>\n\u003cp>From the time I could crawl across our green shag carpet at our home in Oakland’s Fruitvale District, I can recall rummaging through the dual polished mahogany cabinets in our home that served as a treasure chest for my mother’s LPs and 45s. I’d flip through cardboard sleeves covered with the faces of Teddy, Tina, Isaac, James, Diana and Smokey, an act that would often evoke a \u003cem>“girl, you don’t know nothin’ about this,”\u003c/em> followed by a brief history lesson from by mother and grandmother, culminating in a decadent sampling of music.\u003c/p>\n\u003cp>Many names were exalted. But I came to understand that there was only one queen.\u003c/p>\n\u003cp>Saturday mornings were reserved for her. As I partook in the weekly ritual of morning chores, Aretha’s voice would pour over my soul like warm honey, transforming my pajamas and headscarf into an ornate ball gown and elaborate bouffant. Broom sticks became makeshift mic stands. And, for a few minutes, the voice overpowering the faint crackle of the spinning 45 belonged to me. A child of the ’80s, born to a daughter of Detroit, I demanded R-E-S-P-E-C-T when I was still learning to spell, I was feeling like a natural woman before I hit puberty, and I vowed I’d never be in someone’s chain of fools before I ever went on a date.\u003c/p>\n\u003cfigure id=\"attachment_13839193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839193\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-800x563.jpg\" alt=\"Aretha Franklin accepts the Vanguard Award onstage during the 39th NAACP Image Awards on February 14, 2008 in Los Angeles, California.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1200x845.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aretha Franklin accepts the Vanguard Award onstage during the 39th NAACP Image Awards on February 14, 2008 in Los Angeles, California. \u003ccite>(Jesse Grant/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As I matured, my fascination for the family’s old records would give way to the novelty of compact discs, new jack swing, R&B and neo-soul. But Aretha’s indelible impact couldn’t be erased. I’d find myself craving her voice when modern music failed to take me to the places only Aretha could reach. And as I grew older and aged into love and romance, I discovered new dimensions to her music. The urgency of her plea on “Call Me,” articulating feelings of longing I’d had yet to experience. The eternal truth of “(You Make Me Feel Like) A Natural Woman,” which took on an entirely new meaning once I crossed the threshold into womanhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whenever I thought my adoration for Aretha had diminished, she’d resurface and stir my soul in a way only she could. She’d translate emotions from a pivotal film in my youth, \u003cem>Waiting to Exhale\u003c/em>. She’d collaborate with my then-favorite artist Lauryn Hill on her album \u003cem>A Rose is Still A Rose\u003c/em>.\u003c/p>\n\u003cp>And at Barack Obama’s 2009 inauguration, her presence on the Capitol steps that morning meant that a piece of me was there onstage beside America’s first black president.\u003c/p>\n\u003cp>While other artists from her generation struggled to reinvent themselves and connect with a younger audience, Aretha never wavered from the confidence of her throne. Hers was a gift that required no embellishment or novelty; even when she was called to \u003ca href=\"https://www.youtube.com/watch?v=KBCWLhlJV0Y\" target=\"_blank\" rel=\"noopener noreferrer\">duet with a contemporary pop star\u003c/a>, it rarely felt forced. She forged a deep bond with anyone who heard her voice, the power to distill pain, joy and unfiltered soul into every word she sung.\u003c/p>\n\u003cfigure id=\"attachment_13839194\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839194\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal.jpg\" alt=\"The single for 'It Hurts Like Hell' from the film 'Waiting to Exhale.'\" width=\"617\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-240x230.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-375x359.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-520x498.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-32x32.jpg 32w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">The single for ‘It Hurts Like Hell’ from the film ‘Waiting to Exhale.’\u003c/figcaption>\u003c/figure>\n\u003cp>While I’m undoubtedly a child of the Bay Area, my mother was raised in Detroit. It’s her stories about the makings of Motown (including Barry Gordy’s ill-conceived idea to pass on Aretha in favor of her sister Carol Franklin), and her retelling of how her great aunt watched a young Aretha sing in her father’s church on Sunday mornings, that almost make me feel like Aretha was a part of our family. Her music, her voice, her implicit understanding… she was always \u003cem>there\u003c/em>.\u003c/p>\n\u003cp>Today, still processing the news of her death, I’m sad—and a little ashamed. For it’s only today that I realize how much I’ve taken the undisputed Queen of Soul for granted. For all the glorious spectrum of emotion she gifted me, I expected even more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let it be told: Aretha gave us more than enough. May she forever remain the moderator of feelings, for young girls and grown women alike, and may her majesty attain immortality.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Trying to recall the first time I heard the voice of Aretha Franklin is like trying to recall when I first noticed the sky.\u003c/p>\n\u003cp>From the time I could crawl across our green shag carpet at our home in Oakland’s Fruitvale District, I can recall rummaging through the dual polished mahogany cabinets in our home that served as a treasure chest for my mother’s LPs and 45s. I’d flip through cardboard sleeves covered with the faces of Teddy, Tina, Isaac, James, Diana and Smokey, an act that would often evoke a \u003cem>“girl, you don’t know nothin’ about this,”\u003c/em> followed by a brief history lesson from by mother and grandmother, culminating in a decadent sampling of music.\u003c/p>\n\u003cp>Many names were exalted. But I came to understand that there was only one queen.\u003c/p>\n\u003cp>Saturday mornings were reserved for her. As I partook in the weekly ritual of morning chores, Aretha’s voice would pour over my soul like warm honey, transforming my pajamas and headscarf into an ornate ball gown and elaborate bouffant. Broom sticks became makeshift mic stands. And, for a few minutes, the voice overpowering the faint crackle of the spinning 45 belonged to me. A child of the ’80s, born to a daughter of Detroit, I demanded R-E-S-P-E-C-T when I was still learning to spell, I was feeling like a natural woman before I hit puberty, and I vowed I’d never be in someone’s chain of fools before I ever went on a date.\u003c/p>\n\u003cfigure id=\"attachment_13839193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839193\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-800x563.jpg\" alt=\"Aretha Franklin accepts the Vanguard Award onstage during the 39th NAACP Image Awards on February 14, 2008 in Los Angeles, California.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1200x845.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aretha Franklin accepts the Vanguard Award onstage during the 39th NAACP Image Awards on February 14, 2008 in Los Angeles, California. \u003ccite>(Jesse Grant/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As I matured, my fascination for the family’s old records would give way to the novelty of compact discs, new jack swing, R&B and neo-soul. But Aretha’s indelible impact couldn’t be erased. I’d find myself craving her voice when modern music failed to take me to the places only Aretha could reach. And as I grew older and aged into love and romance, I discovered new dimensions to her music. The urgency of her plea on “Call Me,” articulating feelings of longing I’d had yet to experience. The eternal truth of “(You Make Me Feel Like) A Natural Woman,” which took on an entirely new meaning once I crossed the threshold into womanhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whenever I thought my adoration for Aretha had diminished, she’d resurface and stir my soul in a way only she could. She’d translate emotions from a pivotal film in my youth, \u003cem>Waiting to Exhale\u003c/em>. She’d collaborate with my then-favorite artist Lauryn Hill on her album \u003cem>A Rose is Still A Rose\u003c/em>.\u003c/p>\n\u003cp>And at Barack Obama’s 2009 inauguration, her presence on the Capitol steps that morning meant that a piece of me was there onstage beside America’s first black president.\u003c/p>\n\u003cp>While other artists from her generation struggled to reinvent themselves and connect with a younger audience, Aretha never wavered from the confidence of her throne. Hers was a gift that required no embellishment or novelty; even when she was called to \u003ca href=\"https://www.youtube.com/watch?v=KBCWLhlJV0Y\" target=\"_blank\" rel=\"noopener noreferrer\">duet with a contemporary pop star\u003c/a>, it rarely felt forced. She forged a deep bond with anyone who heard her voice, the power to distill pain, joy and unfiltered soul into every word she sung.\u003c/p>\n\u003cfigure id=\"attachment_13839194\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839194\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal.jpg\" alt=\"The single for 'It Hurts Like Hell' from the film 'Waiting to Exhale.'\" width=\"617\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-240x230.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-375x359.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-520x498.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-32x32.jpg 32w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">The single for ‘It Hurts Like Hell’ from the film ‘Waiting to Exhale.’\u003c/figcaption>\u003c/figure>\n\u003cp>While I’m undoubtedly a child of the Bay Area, my mother was raised in Detroit. It’s her stories about the makings of Motown (including Barry Gordy’s ill-conceived idea to pass on Aretha in favor of her sister Carol Franklin), and her retelling of how her great aunt watched a young Aretha sing in her father’s church on Sunday mornings, that almost make me feel like Aretha was a part of our family. Her music, her voice, her implicit understanding… she was always \u003cem>there\u003c/em>.\u003c/p>\n\u003cp>Today, still processing the news of her death, I’m sad—and a little ashamed. For it’s only today that I realize how much I’ve taken the undisputed Queen of Soul for granted. For all the glorious spectrum of emotion she gifted me, I expected even more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let it be told: Aretha gave us more than enough. May she forever remain the moderator of feelings, for young girls and grown women alike, and may her majesty attain immortality.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Teaching Technology in East Oakland—A Revolutionary Act",
"headTitle": "Teaching Technology in East Oakland—A Revolutionary Act | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“Y\u003c/span>ou can tell that’s my baby, right?!?!” I overheard LaTalya Parrish say, as I walked into the \u003ca href=\"https://www.degetc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">David E. Glover Center\u003c/a> in East Oakland on the evening of July 25.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The sound of a proud mother was music to my ears, especially after the week that had been in Oakland. On top of the heinous killing of Nia Wilson and attempted murder of her sister Lahtifa at MacArthur Bart Station, there had been a number of violent incidents in the community. That’s all coupled with the constant cascade from the Oval Office.\u003c/p>\n\u003cp>I needed to hear the sound of LaTalya’s praise; and Hesten, her 13 year-old son, was well deserving of it. Wearing his Sunday best, he sat at the front desk greeting guests with a smile and passing out programs for the open house, during which he was scheduled to speak about coding and creating ways to “hack the system” during the center’s five-week summer program for teens.\u003c/p>\n\u003cfigure id=\"attachment_13838404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838404\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-800x535.jpg\" alt=\"Hesten Parrish gives a presentation at the David E. Glover Center, July 25, 2018.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1920x1283.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hesten Parrish gives a presentation at the David E. Glover Center, July 25, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You probably don’t need me to tell you that in East Oakland, there aren’t many opportunities for young folks to learn how to code. There’s other programs in Oakland, yes, but few in that part of town. But what you might not know is that Glover Center programs are entirely free.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to the center’s creative director Olivia Cueva, the Glover Center exists to allow people to “get access to the tools to then design and build things that will actually serve them and our greater community at large.”\u003c/p>\n\u003cp>Or, as Cueva later elaborated to me, “For too long, tech in the Bay has been understood to be a white space and a transplant space. What would it mean to actually have a \u003cem>free\u003c/em> technology, design, and maker space that allows Oakland and Bay Area natives to be in charge of what they want to create for their community—and the world?”\u003c/p>\n\u003cfigure id=\"attachment_13838403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-800x535.jpg\" alt=\"An attendee of the David E. Glover Center plays with a VR headset.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee of the David E. Glover Center plays with a VR headset. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>aiting for Hesten’s speech, I walked around the building where a handful of young folks displayed the gadgets and apps they’d created over the summer.\u003c/p>\n\u003cp>A mobile robot wheeled past my shins in the hallway. A young person wore 3-D goggles, using his hands to play what looked to be virtual tennis. And, in a dimly lit room, I met 13-year-old Michael Slater sitting behind a desk with a “mood light” he’d created using a combination of construction paper, LED lights and wires connecting the light to a computer through an Arduino board, which allowed him to program the lights’ hues.\u003c/p>\n\u003cp>I asked why he created it. “sometimes I get sad, like when I lose a game of Fortnite or when something bad happens,” Michael said. “This light makes me happy.”\u003c/p>\n\u003cp>Michael’s mother, Abarea Monique Slater, and grandmother, Carrie Banks, were in the room as well; almost cheering the young man on. When asked how she felt about the summer program, Slater said, “Everything else was expensive, and this was right up his alley—he likes robotics!”\u003c/p>\n\u003cp>Michael’s grandmother struck a more serious tone. “It’s important that he has a broader view of the world,” she added, “because at this age we start losing our boys.”\u003c/p>\n\u003cfigure id=\"attachment_13838408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838408\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-800x535.jpg\" alt='A \"drawbot\" created by 13-year-old Solyana Beyene.' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “drawbot” created by 13-year-old Solyana Beyene. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In another room full of games and robots, 13-year-old Solyana Beyene kneeled over her creation and explained the process of creating a “Drawbot,” which, as the name implies, is a robot programmed to draw. When loaded with colored pencils and placed on chart paper, the robot spins donuts and leaves overlapping colored circles. Solyana explained that it took a little trial-and-error, but overall the building of it went quickly: “First I just started with a robot, but a robot seemed simple, so I just put some pencils in there, and I made it make a circle.”\u003c/p>\n\u003cp>One of her instructors, Noah Jones, assisted her in making the pattern into a flower shape, but even that didn’t take too long to master. “I found a few viruses in there, and then I fixed it,” Solyana told me, her family sitting nearby her presentation.\u003c/p>\n\u003cp>Then we were ushered into the main room, where Cueva and fellow instructor Tanya Campbell introduced Hesten’s presentation.\u003c/p>\n\u003cfigure id=\"attachment_13838402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-800x535.jpg\" alt=\"Solyana Beyene answers a question on a panel at the David E. Glover Center, July 25, 2018.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1920x1283.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solyana Beyene answers a question on a panel at the David E. Glover Center, July 25, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing in front of a laptop projector, Hesten told the crowd about a recent issue he had with a teacher who gave him a grade he felt he didn’t deserve. After earning relatively high marks on his classwork, homework and tests, Hesten received a failing grade in the class, and felt there were some racial biases on the teacher’s part.\u003c/p>\n\u003cp>Instead of getting enraged, Hesten got innovative. He spent a few weeks developing an app that would allow students and parents to readily communicate with teachers, in an effort to create transparency around grading.\u003c/p>\n\u003cp>The app, called Flag The Grade, is geared to serve students from elementary school to high school. When asked if the app is on the market, Hesten replied, “It’s in prototype form, and that’s why I need resources—like money.” The crowd chuckled, but Hesten was serious: he explained that further investment would go toward “a designer, developer, and a new laptop.” (Hesten has reportedly already received $2,000 from the San Francisco Foundation for further research and development.)\u003c/p>\n\u003cp>At the end, Hesten was met with a thunderous applause.\u003c/p>\n\u003cfigure id=\"attachment_13838407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-800x535.jpg\" alt=\"Angela Glover Blackwell asks a question during a panel at the David E. Glover Center, July 25, 2018.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Glover Blackwell asks a question during a panel at the David E. Glover Center, July 25, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>wo interactions stuck with me in the Q&A that followed. The first occurred when Joe Brooks, of the Brotherhood of Elders Network, stood and asked what else the young people need, if they could have anything they wanted. Solyana, who noted that she’d recently immigrated to the United States, said she’d request nothing more, happy with the program as it is.\u003c/p>\n\u003cp>The second came when PolicyLink founder Angela Glover Blackwell stood and said that her brother—the late David E. Glover, for whom the center was named—would be proud of these young people’s efforts, and then thanked them.\u003c/p>\n\u003cp>Those were two subtle but very significant moments.\u003c/p>\n\u003cp>I left wondering if those 12- and 13-year-olds on stage had any idea of who Joe Brooks is, and how he once fought to start a sovereign nation inside of the United States called the Republic of New Africa. I wondered if those teenagers were familiar with Angela Glover Blackwell, and her lifelong work to use public policy to create better outcomes for low-income people and people of color.\u003c/p>\n\u003cfigure id=\"attachment_13838406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838406\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-800x535.jpg\" alt=\"Thirteen-year-old Michael Slater and his computer-controlled mood light.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thirteen-year-old Michael Slater and his computer-controlled mood light. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s no one’s fault if they’re not. But what the young people are doing isn’t too far removed, if at all, from the work their elders have done; it’s a continuum of the same efforts. And teaching young people to be technology creators instead of consumers is just as revolutionary as fighting to change unjust policies.\u003c/p>\n\u003cp>Think about it: in this over-policed and under-resourced neighborhood in the middle of Oakland, a city where the only thing popping up quicker than luxury apartments are tents for the homeless, and where immigrants and black folks alike are \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">increasingly treated\u003c/a> as criminals for simply existing, these young folks were hacking away at a brighter future—even if it’s as simple as creating robots that draw flowers or lights that uplift their spirits.\u003c/p>\n\u003cp>And that’s important in the flatlands of Deep East Oakland.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“Y\u003c/span>ou can tell that’s my baby, right?!?!” I overheard LaTalya Parrish say, as I walked into the \u003ca href=\"https://www.degetc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">David E. Glover Center\u003c/a> in East Oakland on the evening of July 25.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The sound of a proud mother was music to my ears, especially after the week that had been in Oakland. On top of the heinous killing of Nia Wilson and attempted murder of her sister Lahtifa at MacArthur Bart Station, there had been a number of violent incidents in the community. That’s all coupled with the constant cascade from the Oval Office.\u003c/p>\n\u003cp>I needed to hear the sound of LaTalya’s praise; and Hesten, her 13 year-old son, was well deserving of it. Wearing his Sunday best, he sat at the front desk greeting guests with a smile and passing out programs for the open house, during which he was scheduled to speak about coding and creating ways to “hack the system” during the center’s five-week summer program for teens.\u003c/p>\n\u003cfigure id=\"attachment_13838404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838404\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-800x535.jpg\" alt=\"Hesten Parrish gives a presentation at the David E. Glover Center, July 25, 2018.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1920x1283.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hesten Parrish gives a presentation at the David E. Glover Center, July 25, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You probably don’t need me to tell you that in East Oakland, there aren’t many opportunities for young folks to learn how to code. There’s other programs in Oakland, yes, but few in that part of town. But what you might not know is that Glover Center programs are entirely free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to the center’s creative director Olivia Cueva, the Glover Center exists to allow people to “get access to the tools to then design and build things that will actually serve them and our greater community at large.”\u003c/p>\n\u003cp>Or, as Cueva later elaborated to me, “For too long, tech in the Bay has been understood to be a white space and a transplant space. What would it mean to actually have a \u003cem>free\u003c/em> technology, design, and maker space that allows Oakland and Bay Area natives to be in charge of what they want to create for their community—and the world?”\u003c/p>\n\u003cfigure id=\"attachment_13838403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-800x535.jpg\" alt=\"An attendee of the David E. Glover Center plays with a VR headset.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee of the David E. Glover Center plays with a VR headset. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>aiting for Hesten’s speech, I walked around the building where a handful of young folks displayed the gadgets and apps they’d created over the summer.\u003c/p>\n\u003cp>A mobile robot wheeled past my shins in the hallway. A young person wore 3-D goggles, using his hands to play what looked to be virtual tennis. And, in a dimly lit room, I met 13-year-old Michael Slater sitting behind a desk with a “mood light” he’d created using a combination of construction paper, LED lights and wires connecting the light to a computer through an Arduino board, which allowed him to program the lights’ hues.\u003c/p>\n\u003cp>I asked why he created it. “sometimes I get sad, like when I lose a game of Fortnite or when something bad happens,” Michael said. “This light makes me happy.”\u003c/p>\n\u003cp>Michael’s mother, Abarea Monique Slater, and grandmother, Carrie Banks, were in the room as well; almost cheering the young man on. When asked how she felt about the summer program, Slater said, “Everything else was expensive, and this was right up his alley—he likes robotics!”\u003c/p>\n\u003cp>Michael’s grandmother struck a more serious tone. “It’s important that he has a broader view of the world,” she added, “because at this age we start losing our boys.”\u003c/p>\n\u003cfigure id=\"attachment_13838408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838408\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-800x535.jpg\" alt='A \"drawbot\" created by 13-year-old Solyana Beyene.' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “drawbot” created by 13-year-old Solyana Beyene. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In another room full of games and robots, 13-year-old Solyana Beyene kneeled over her creation and explained the process of creating a “Drawbot,” which, as the name implies, is a robot programmed to draw. When loaded with colored pencils and placed on chart paper, the robot spins donuts and leaves overlapping colored circles. Solyana explained that it took a little trial-and-error, but overall the building of it went quickly: “First I just started with a robot, but a robot seemed simple, so I just put some pencils in there, and I made it make a circle.”\u003c/p>\n\u003cp>One of her instructors, Noah Jones, assisted her in making the pattern into a flower shape, but even that didn’t take too long to master. “I found a few viruses in there, and then I fixed it,” Solyana told me, her family sitting nearby her presentation.\u003c/p>\n\u003cp>Then we were ushered into the main room, where Cueva and fellow instructor Tanya Campbell introduced Hesten’s presentation.\u003c/p>\n\u003cfigure id=\"attachment_13838402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-800x535.jpg\" alt=\"Solyana Beyene answers a question on a panel at the David E. Glover Center, July 25, 2018.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1920x1283.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solyana Beyene answers a question on a panel at the David E. Glover Center, July 25, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing in front of a laptop projector, Hesten told the crowd about a recent issue he had with a teacher who gave him a grade he felt he didn’t deserve. After earning relatively high marks on his classwork, homework and tests, Hesten received a failing grade in the class, and felt there were some racial biases on the teacher’s part.\u003c/p>\n\u003cp>Instead of getting enraged, Hesten got innovative. He spent a few weeks developing an app that would allow students and parents to readily communicate with teachers, in an effort to create transparency around grading.\u003c/p>\n\u003cp>The app, called Flag The Grade, is geared to serve students from elementary school to high school. When asked if the app is on the market, Hesten replied, “It’s in prototype form, and that’s why I need resources—like money.” The crowd chuckled, but Hesten was serious: he explained that further investment would go toward “a designer, developer, and a new laptop.” (Hesten has reportedly already received $2,000 from the San Francisco Foundation for further research and development.)\u003c/p>\n\u003cp>At the end, Hesten was met with a thunderous applause.\u003c/p>\n\u003cfigure id=\"attachment_13838407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-800x535.jpg\" alt=\"Angela Glover Blackwell asks a question during a panel at the David E. Glover Center, July 25, 2018.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Glover Blackwell asks a question during a panel at the David E. Glover Center, July 25, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>wo interactions stuck with me in the Q&A that followed. The first occurred when Joe Brooks, of the Brotherhood of Elders Network, stood and asked what else the young people need, if they could have anything they wanted. Solyana, who noted that she’d recently immigrated to the United States, said she’d request nothing more, happy with the program as it is.\u003c/p>\n\u003cp>The second came when PolicyLink founder Angela Glover Blackwell stood and said that her brother—the late David E. Glover, for whom the center was named—would be proud of these young people’s efforts, and then thanked them.\u003c/p>\n\u003cp>Those were two subtle but very significant moments.\u003c/p>\n\u003cp>I left wondering if those 12- and 13-year-olds on stage had any idea of who Joe Brooks is, and how he once fought to start a sovereign nation inside of the United States called the Republic of New Africa. I wondered if those teenagers were familiar with Angela Glover Blackwell, and her lifelong work to use public policy to create better outcomes for low-income people and people of color.\u003c/p>\n\u003cfigure id=\"attachment_13838406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838406\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-800x535.jpg\" alt=\"Thirteen-year-old Michael Slater and his computer-controlled mood light.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thirteen-year-old Michael Slater and his computer-controlled mood light. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s no one’s fault if they’re not. But what the young people are doing isn’t too far removed, if at all, from the work their elders have done; it’s a continuum of the same efforts. And teaching young people to be technology creators instead of consumers is just as revolutionary as fighting to change unjust policies.\u003c/p>\n\u003cp>Think about it: in this over-policed and under-resourced neighborhood in the middle of Oakland, a city where the only thing popping up quicker than luxury apartments are tents for the homeless, and where immigrants and black folks alike are \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">increasingly treated\u003c/a> as criminals for simply existing, these young folks were hacking away at a brighter future—even if it’s as simple as creating robots that draw flowers or lights that uplift their spirits.\u003c/p>\n\u003cp>And that’s important in the flatlands of Deep East Oakland.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The “\u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">BBQ’n While Black\u003c/a>” protest. Marshawn Lynch’s \u003ca href=\"https://www.kqed.org/arts/13836150/the-power-of-taking-up-space-at-marshawn-lynchs-oakland-rideout\" target=\"_blank\" rel=\"noopener noreferrer\">community bike ride\u003c/a>. \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">The East Oakland Collective\u003c/a>‘s grassroots efforts to help the homeless. What do these things have in common? Regular readers of Pendarvis Harshaw’s \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Arts column\u003c/a> will know that these are examples of Oakland’s African-American community’s resilience in the face of gentrification and displacement.\u003c/p>\n\u003cp>You’ve likely heard stories of friends and neighbors leaving The Town for cities with cheaper rents, like Antioch and Sacramento. You’ve probably noticed that homeless encampments in Oakland have grown substantially in the past few years, and that there are a lot more unsheltered people on Oakland’s streets. And you’ve seen the viral videos of the white woman who called the cops on a black family having a barbecue at Lake Merritt (prompting “BBQ’n While Black”); or the white man who \u003ca href=\"https://www.sfchronicle.com/crime/article/Charges-filed-against-Oakland-s-Jogger-12991999.php\" target=\"_blank\" rel=\"noopener noreferrer\">threw a homeless man’s belongings\u003c/a> into the same lake; or read about white residents \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Black-firefighter-on-inspection-duty-in-Oakland-13021084.php\" target=\"_blank\" rel=\"noopener noreferrer\">calling the police on black firefighters\u003c/a> doing their jobs in the Oakland hills—the list goes on.\u003c/p>\n\u003cp>In a recent conversation on Facebook Live, Harshaw and I took a look at some of the statistics that tell us how much Oakland has actually changed in the past 15 years, as well as the human stories and anecdotes behind the numbers. How has Oakland’s culture shifted as its black population, which in 1980 made up 48 percent of the city’s total population, now hovers around 24 percent? What legislation has made low-income renters vulnerable to eviction and accelerated the homelessness crisis? What are Oakland natives, and black Oaklanders especially, doing to fight cultural erasure?\u003c/p>\n\u003cp>Watch below as we investigate these questions, and keep up with \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Harshaw’s column\u003c/a> as he continues to explore the issues facing his hometown.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FKQED%2Fvideos%2F10155318032461191%2F&show_text=0&width=560\" width=\"560\" height=\"315\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The “\u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">BBQ’n While Black\u003c/a>” protest. Marshawn Lynch’s \u003ca href=\"https://www.kqed.org/arts/13836150/the-power-of-taking-up-space-at-marshawn-lynchs-oakland-rideout\" target=\"_blank\" rel=\"noopener noreferrer\">community bike ride\u003c/a>. \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">The East Oakland Collective\u003c/a>‘s grassroots efforts to help the homeless. What do these things have in common? Regular readers of Pendarvis Harshaw’s \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Arts column\u003c/a> will know that these are examples of Oakland’s African-American community’s resilience in the face of gentrification and displacement.\u003c/p>\n\u003cp>You’ve likely heard stories of friends and neighbors leaving The Town for cities with cheaper rents, like Antioch and Sacramento. You’ve probably noticed that homeless encampments in Oakland have grown substantially in the past few years, and that there are a lot more unsheltered people on Oakland’s streets. And you’ve seen the viral videos of the white woman who called the cops on a black family having a barbecue at Lake Merritt (prompting “BBQ’n While Black”); or the white man who \u003ca href=\"https://www.sfchronicle.com/crime/article/Charges-filed-against-Oakland-s-Jogger-12991999.php\" target=\"_blank\" rel=\"noopener noreferrer\">threw a homeless man’s belongings\u003c/a> into the same lake; or read about white residents \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Black-firefighter-on-inspection-duty-in-Oakland-13021084.php\" target=\"_blank\" rel=\"noopener noreferrer\">calling the police on black firefighters\u003c/a> doing their jobs in the Oakland hills—the list goes on.\u003c/p>\n\u003cp>In a recent conversation on Facebook Live, Harshaw and I took a look at some of the statistics that tell us how much Oakland has actually changed in the past 15 years, as well as the human stories and anecdotes behind the numbers. How has Oakland’s culture shifted as its black population, which in 1980 made up 48 percent of the city’s total population, now hovers around 24 percent? What legislation has made low-income renters vulnerable to eviction and accelerated the homelessness crisis? What are Oakland natives, and black Oaklanders especially, doing to fight cultural erasure?\u003c/p>\n\u003cp>Watch below as we investigate these questions, and keep up with \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Harshaw’s column\u003c/a> as he continues to explore the issues facing his hometown.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FKQED%2Fvideos%2F10155318032461191%2F&show_text=0&width=560\" width=\"560\" height=\"315\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ia Wilson and her sister Lahtifa did everything right. They were just at the wrong place at the wrong time—the United States of America in 2018.\u003c/p>\n\u003cp>They paid their BART fare. They traveled together. They stayed in a well-lit part of the MacArthur BART station in Oakland at a reasonable hour on a Sunday night. And they were still attacked.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>As one police official put it, Nia was killed “prison style,” a knife through her neck. Her killer also stabbed her sister. Lahtifa lived. Nia didn’t.\u003c/p>\n\u003cp>The first report broke late Sunday evening, with the story widely circulated by the Monday work hours, leading the week’s news cycle. The headline “Two Young Women Stabbed” appeared beside stories of Donald Trump’s Twitter tirade against Iran and R. Kelly’s 19-minute song, in which he apparently admits what we all know he’s been doing to young women. I couldn’t listen to it. When there’s a war on black women, why would I want to listen to the enemy?\u003c/p>\n\u003cfigure id=\"attachment_13837836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9449-800x533.jpg\" alt=\"People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In spite of it all, photos of Nia and support for the Wilson family dominated national social media. Questions arose as to when BART would release surveillance footage or photos of the suspect, including from Oakland’s own Kehlani. As soon as BART officials published a photo of the suspected assailant, John Lee Cowell, his history surfaced: a restraining order filed against him by employees at a Richmond medical facility, a record for a robbery charge, a mention of a recent run-in with BART police. He showed a pattern of being a lewd, erratic person; someone you’d expect to commit an atrocity like this.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, Nia and Lahtifa didn’t expect it.\u003c/p>\n\u003cp>Maybe they were expecting to be safe on BART. What with all its money from the uptick in ridership and recent bond measures, its security guards and promises to replace fake decoy cameras, it should be safe to ride, right? Never mind the fact that BART had had \u003ca href=\"https://www.sfgate.com/crime/article/Teen-s-slaying-may-have-been-BART-s-third-in-13097963.php\" target=\"_blank\" rel=\"noopener noreferrer\">two other unreported homicides\u003c/a> within the past week.\u003c/p>\n\u003cp>Nia and Lahtifa were probably thinking like the majority of people walking the streets of America: if you do everything right, you’ll be safe. America, with all its laws and regulations and anti-terrorism propaganda, \u003cem>should\u003c/em> be safe—regardless of it still being America.\u003c/p>\n\u003cfigure id=\"attachment_13837839\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Nia.jpg\" alt=\"Nia Wilson.\" width=\"600\" height=\"784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-520x679.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nia Wilson.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“S\u003c/span>till being America,” you know: a place where a white guy could “randomly” stab two black women on public transportation, and not only walk away from the scene of the crime, but get back on that same form of public transportation the next day. Then, be identified not by BART officials but by an anonymous tipster. Which then allowed the police to calmly arrest him, a domestic terrorist, with no conflict or force.\u003c/p>\n\u003cp>Ahhhh, America. You show your true colors all too often, especially to black women.\u003c/p>\n\u003caside class=\"alignright\">\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13837740/sayhername-10-illustrated-tributes-to-nia-wilson-lighting-up-social-media\" target=\"_blank\" rel=\"noopener noreferrer\">#SayHerName: 10 Illustrated Tributes to Nia Wilson Lighting Up Social Media\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11684939/nia-wilsons-purpose-oakland-buries-a-daughter-and-demands-justice-in-her-name\" target=\"_blank\" rel=\"noopener noreferrer\">Nia Wilson’s Purpose: Oakland Buries a Daughter and Demands Justice in Her Name\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>We’ve got to be honest with ourselves and realize that an unprovoked stabbing of two black women on a public transit platform by a white man isn’t just “random.” It’s a byproduct of our society, America 2018—and every year since Betsy Ross sewed the first flag.\u003c/p>\n\u003cp>These sorts of attacks, which often go unreported, are in addition to the daily injustices black women face. You know, like how according to census figures, a \u003ca href=\"https://www.independent.co.uk/news/world/americas/black-women-become-most-educated-group-in-us-a7063361.html\" target=\"_blank\" rel=\"noopener noreferrer\">higher percentage of black women are enrolled in college\u003c/a> than any other group in America, but suffer \u003ca href=\"https://www.infoplease.com/us/wage-gap/wage-gap-gender-and-race\" target=\"_blank\" rel=\"noopener noreferrer\">payment discrepancies\u003c/a>, earning 64 cents for every dollar a white man earns for the same amount of work. How black women have the highest \u003ca href=\"http://www.laist.com/2018/06/21/black_babies_die_at_twice_the_rate.php\" target=\"_blank\" rel=\"noopener noreferrer\">infant mortality rates\u003c/a>, which is tied to high rates of \u003ca href=\"https://www.propublica.org/article/black-women-disproportionately-suffer-complications-of-pregnancy-and-childbirth-lets-talk-about-it\" target=\"_blank\" rel=\"noopener noreferrer\">maternal mortality rates\u003c/a> for black women.\u003c/p>\n\u003cfigure id=\"attachment_13837837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9492-800x533.jpg\" alt=\"People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with health issues, like heart disease, stroke and diabetes, diseases related to stress are killing black women at an \u003ca href=\"https://www.self.com/story/black-women-health-conditions\" target=\"_blank\" rel=\"noopener noreferrer\">alarming rate\u003c/a>—stress often due to racism and sexism. And while homicides among women of all demographics are over 50 percent likely to be the product of their romantic/former romantic partner, black women die at a \u003ca href=\"https://www.theatlantic.com/health/archive/2017/07/homicides-women/534306/\" target=\"_blank\" rel=\"noopener noreferrer\">higher rate\u003c/a> than any other group when it comes to domestic violence.\u003c/p>\n\u003cp>The Wilson sisters were just two of the many casualties in the war on black women. Many other women read their story and now walk down the street in a deeper fear than before. And yet they continue to walk down the street, to catch the train, to pursue happiness, in spite of the world we live in.\u003c/p>\n\u003cfigure id=\"attachment_13837838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9553-800x533.jpg\" alt=\"A vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>es, there are individuals and organizations who work to make this place more just for women of all backgrounds. Locally, groups like \u003ca href=\"http://misssey.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Misssey\u003c/a> and \u003ca href=\"http://www.cceb.org/claires-house/\" target=\"_blank\" rel=\"noopener noreferrer\">Claire’s House\u003c/a> have done and will continue to do that work. In response to this case in particular, activist and organizer \u003ca href=\"https://twitter.com/brownblaze/status/1021500677246398464\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Yates launched a GoFundMe\u003c/a> to “purchase self-defense items such as tasers, pepper spray and attention-getting devices for Black women/femmes and queer persons in Oakland and the Bay Area.”\u003c/p>\n\u003cp>But it’s not solely women’s job to remedy this war. It’d be asinine to think so. The onus is on us, the men. And I’m not just talking about the ones who commit the heinous acts, but the men who let stuff slide. The men who don’t call out misogynistic behavior in their friends. The men who knowingly benefit from a male-dominated society, and quietly go along with it.\u003c/p>\n\u003cfigure id=\"attachment_13837835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837835\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9359-800x533.jpg\" alt=\"People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even myself, a man with a platform, who all too often uses it to tell a man’s point of view. It’s my job to lift the voices of the many African-American girls and women who attended a vigil for Nia on Monday afternoon. It’s my job to make sure the photos of the faces, the solemn expressions, the heartbroken children, concerned mothers, and angry community members are amplified. It’s my job to tell the world that these are people who said prayers, and then wiped their tears, balled their fists and punched the sky as they marched to where a group of white supremacists had planned to meet, letting them know we won’t stand for it.\u003c/p>\n\u003cp>The black community of Oakland is beautiful in that way. Even with our flaws and infighting, and in a city where sex trafficking and violence against women has been prevalent for decades, what we won’t let happen is a malicious attack from outsiders. I’m amazed by my community rising to call when moved to do so; such a group of resilient, artistic, spiritual, hardworking folks. People didn’t leave their anger behind social media posts this time around. They showed up at MacArthur BART and made their presence felt.\u003c/p>\n\u003cp>I’m proud to call this home. Maybe why we fight so hard is to ensure this will remain home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Nia Wilson and the War on Black Women | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ia Wilson and her sister Lahtifa did everything right. They were just at the wrong place at the wrong time—the United States of America in 2018.\u003c/p>\n\u003cp>They paid their BART fare. They traveled together. They stayed in a well-lit part of the MacArthur BART station in Oakland at a reasonable hour on a Sunday night. And they were still attacked.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>As one police official put it, Nia was killed “prison style,” a knife through her neck. Her killer also stabbed her sister. Lahtifa lived. Nia didn’t.\u003c/p>\n\u003cp>The first report broke late Sunday evening, with the story widely circulated by the Monday work hours, leading the week’s news cycle. The headline “Two Young Women Stabbed” appeared beside stories of Donald Trump’s Twitter tirade against Iran and R. Kelly’s 19-minute song, in which he apparently admits what we all know he’s been doing to young women. I couldn’t listen to it. When there’s a war on black women, why would I want to listen to the enemy?\u003c/p>\n\u003cfigure id=\"attachment_13837836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9449-800x533.jpg\" alt=\"People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In spite of it all, photos of Nia and support for the Wilson family dominated national social media. Questions arose as to when BART would release surveillance footage or photos of the suspect, including from Oakland’s own Kehlani. As soon as BART officials published a photo of the suspected assailant, John Lee Cowell, his history surfaced: a restraining order filed against him by employees at a Richmond medical facility, a record for a robbery charge, a mention of a recent run-in with BART police. He showed a pattern of being a lewd, erratic person; someone you’d expect to commit an atrocity like this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, Nia and Lahtifa didn’t expect it.\u003c/p>\n\u003cp>Maybe they were expecting to be safe on BART. What with all its money from the uptick in ridership and recent bond measures, its security guards and promises to replace fake decoy cameras, it should be safe to ride, right? Never mind the fact that BART had had \u003ca href=\"https://www.sfgate.com/crime/article/Teen-s-slaying-may-have-been-BART-s-third-in-13097963.php\" target=\"_blank\" rel=\"noopener noreferrer\">two other unreported homicides\u003c/a> within the past week.\u003c/p>\n\u003cp>Nia and Lahtifa were probably thinking like the majority of people walking the streets of America: if you do everything right, you’ll be safe. America, with all its laws and regulations and anti-terrorism propaganda, \u003cem>should\u003c/em> be safe—regardless of it still being America.\u003c/p>\n\u003cfigure id=\"attachment_13837839\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Nia.jpg\" alt=\"Nia Wilson.\" width=\"600\" height=\"784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-520x679.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nia Wilson.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“S\u003c/span>till being America,” you know: a place where a white guy could “randomly” stab two black women on public transportation, and not only walk away from the scene of the crime, but get back on that same form of public transportation the next day. Then, be identified not by BART officials but by an anonymous tipster. Which then allowed the police to calmly arrest him, a domestic terrorist, with no conflict or force.\u003c/p>\n\u003cp>Ahhhh, America. You show your true colors all too often, especially to black women.\u003c/p>\n\u003caside class=\"alignright\">\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13837740/sayhername-10-illustrated-tributes-to-nia-wilson-lighting-up-social-media\" target=\"_blank\" rel=\"noopener noreferrer\">#SayHerName: 10 Illustrated Tributes to Nia Wilson Lighting Up Social Media\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11684939/nia-wilsons-purpose-oakland-buries-a-daughter-and-demands-justice-in-her-name\" target=\"_blank\" rel=\"noopener noreferrer\">Nia Wilson’s Purpose: Oakland Buries a Daughter and Demands Justice in Her Name\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>We’ve got to be honest with ourselves and realize that an unprovoked stabbing of two black women on a public transit platform by a white man isn’t just “random.” It’s a byproduct of our society, America 2018—and every year since Betsy Ross sewed the first flag.\u003c/p>\n\u003cp>These sorts of attacks, which often go unreported, are in addition to the daily injustices black women face. You know, like how according to census figures, a \u003ca href=\"https://www.independent.co.uk/news/world/americas/black-women-become-most-educated-group-in-us-a7063361.html\" target=\"_blank\" rel=\"noopener noreferrer\">higher percentage of black women are enrolled in college\u003c/a> than any other group in America, but suffer \u003ca href=\"https://www.infoplease.com/us/wage-gap/wage-gap-gender-and-race\" target=\"_blank\" rel=\"noopener noreferrer\">payment discrepancies\u003c/a>, earning 64 cents for every dollar a white man earns for the same amount of work. How black women have the highest \u003ca href=\"http://www.laist.com/2018/06/21/black_babies_die_at_twice_the_rate.php\" target=\"_blank\" rel=\"noopener noreferrer\">infant mortality rates\u003c/a>, which is tied to high rates of \u003ca href=\"https://www.propublica.org/article/black-women-disproportionately-suffer-complications-of-pregnancy-and-childbirth-lets-talk-about-it\" target=\"_blank\" rel=\"noopener noreferrer\">maternal mortality rates\u003c/a> for black women.\u003c/p>\n\u003cfigure id=\"attachment_13837837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9492-800x533.jpg\" alt=\"People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with health issues, like heart disease, stroke and diabetes, diseases related to stress are killing black women at an \u003ca href=\"https://www.self.com/story/black-women-health-conditions\" target=\"_blank\" rel=\"noopener noreferrer\">alarming rate\u003c/a>—stress often due to racism and sexism. And while homicides among women of all demographics are over 50 percent likely to be the product of their romantic/former romantic partner, black women die at a \u003ca href=\"https://www.theatlantic.com/health/archive/2017/07/homicides-women/534306/\" target=\"_blank\" rel=\"noopener noreferrer\">higher rate\u003c/a> than any other group when it comes to domestic violence.\u003c/p>\n\u003cp>The Wilson sisters were just two of the many casualties in the war on black women. Many other women read their story and now walk down the street in a deeper fear than before. And yet they continue to walk down the street, to catch the train, to pursue happiness, in spite of the world we live in.\u003c/p>\n\u003cfigure id=\"attachment_13837838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9553-800x533.jpg\" alt=\"A vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>es, there are individuals and organizations who work to make this place more just for women of all backgrounds. Locally, groups like \u003ca href=\"http://misssey.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Misssey\u003c/a> and \u003ca href=\"http://www.cceb.org/claires-house/\" target=\"_blank\" rel=\"noopener noreferrer\">Claire’s House\u003c/a> have done and will continue to do that work. In response to this case in particular, activist and organizer \u003ca href=\"https://twitter.com/brownblaze/status/1021500677246398464\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Yates launched a GoFundMe\u003c/a> to “purchase self-defense items such as tasers, pepper spray and attention-getting devices for Black women/femmes and queer persons in Oakland and the Bay Area.”\u003c/p>\n\u003cp>But it’s not solely women’s job to remedy this war. It’d be asinine to think so. The onus is on us, the men. And I’m not just talking about the ones who commit the heinous acts, but the men who let stuff slide. The men who don’t call out misogynistic behavior in their friends. The men who knowingly benefit from a male-dominated society, and quietly go along with it.\u003c/p>\n\u003cfigure id=\"attachment_13837835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837835\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9359-800x533.jpg\" alt=\"People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even myself, a man with a platform, who all too often uses it to tell a man’s point of view. It’s my job to lift the voices of the many African-American girls and women who attended a vigil for Nia on Monday afternoon. It’s my job to make sure the photos of the faces, the solemn expressions, the heartbroken children, concerned mothers, and angry community members are amplified. It’s my job to tell the world that these are people who said prayers, and then wiped their tears, balled their fists and punched the sky as they marched to where a group of white supremacists had planned to meet, letting them know we won’t stand for it.\u003c/p>\n\u003cp>The black community of Oakland is beautiful in that way. Even with our flaws and infighting, and in a city where sex trafficking and violence against women has been prevalent for decades, what we won’t let happen is a malicious attack from outsiders. I’m amazed by my community rising to call when moved to do so; such a group of resilient, artistic, spiritual, hardworking folks. People didn’t leave their anger behind social media posts this time around. They showed up at MacArthur BART and made their presence felt.\u003c/p>\n\u003cp>I’m proud to call this home. Maybe why we fight so hard is to ensure this will remain home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-art-of-the-game-the-aesthetics-of-world-cup-soccer-in-san-francisco",
"title": "The Art of the Game: the Aesthetics of World Cup Soccer in San Francisco",
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"content": "\u003cp>Even if you don’t watch soccer, you’ve probably heard it referred to at some point as “the beautiful game.” While the exact origin of the phrase is in some dispute (like “beatnik,” there are a few claimants), it’s become one of the default phrases employed to describe the sport as a whole. And while beauty is very much in the eye of the beholder, one need only watch a replay of the \u003ca href=\"https://www.youtube.com/watch?v=XLa9wP-BVzQ\" target=\"_blank\" rel=\"noopener noreferrer\">first goal scored\u003c/a> in the England-Croatia World Cup semifinal match by English defender Kieran Trippier—a swooping arc flying first over the heads of Croatia’s defensive “wall,” then soaring above goalkeeper Danijel Subašić to smash into the back of the net—to get a sense of the game’s \u003cem>potential\u003c/em> for beautiful moments.\u003c/p>\n\u003cp>In fact, there’s so much potential for beauty in soccer, especially at the World Cup level, that it can move an arts journalist such as myself to spend the better part of a month lurking in dark bars at 7am. As the games have progressed from knockout rounds, to the final sixteen, the final eight, the quarterfinals, and the best of the best (or sometimes just the luckiest) inching their way to this weekend’s finals, I find I can hardly resist the very theatre-like qualities of the World Cup and, particularly in large outdoor public screenings, its fans.\u003c/p>\n\u003cfigure id=\"attachment_13836997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8531-800x533.jpg\" alt=\"Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soccer has so much happening that it could be said to encompass a wide variety of art forms within its sweaty bosom. The almost balletic precision of Spain’s “tiki-taka” passing game as contrasted with the spontaneous improv of a lucky header such as that of Belgium’s Jan Vertonghen against Japan, a literal long shot turned unexpected goal. The physical beauty of athletic bodies in motion, without giant helmets or baggy trousers to mar the view. The high drama of high stakes leading to shoving matches and shouted epithets on the pitch (to say nothing of the stands), some inspired by fresh insults, some by deep-seated rivalries stretching back generations. The low humor of a ball planted squarely in England defender Kyle Walker’s \u003cem>bollocks\u003c/em> and the unabashed emotion on the faces of the Croatian team after cementing their winning goal in the 109th minute of play, particularly \u003ca href=\"https://petapixel.com/2018/07/12/photographer-gets-dog-piled-at-world-cup-and-keeps-on-shooting/\">as captured by Salvadoran photojournalist Yuri Cortez\u003c/a>, who was buried in the middle of their celebratory dogpile.\u003c/p>\n\u003cfigure id=\"attachment_13836996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836996\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8528-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sue Bierman Park, a grassy knoll sandwiched between Drumm and the Embarcadero, a crowd gathered Wednesday to watch an outdoor screening of the World Cup semi-final match between England and Croatia, a courtesy provided by San Francisco Parks and Recreation (the final will be screened at the Civic Center on Sunday, July 15). Unlike many of the bars that show World Cup games in San Francisco, these outdoor screenings have a way of drawing supporters of both teams, and yet none (that I’ve been to) have had any serious altercations. We are civil “football” fans in SF, it seems, but that doesn’t stop the pageantry, people wrapped in flags, facepaint, team colors, or the palpable tension and anticipation that rises with each unpredictable twist in plot. Folks from all walks of life come to represent and be represented. For them, as well as for the players looming on the giant screen above us, a World Cup soccer game can be emotionally challenging, physically demanding, and potentially transcendent.\u003c/p>\n\u003cfigure id=\"attachment_13837003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8558-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although at first glance, and second count, supporters of England appeared to outnumber those of Croatia at the screening, as the game progressed and Croatia’s chances improved, those few appeared to swell in number, or at least in appreciative vocalization. And while it might be inappropriate to make such sounds at a particularly stirring Symphony performance, it would certainly not be out of place after a beautifully improvised jazz solo or a fan favorite rock anthem played third on the set list at the Independent. The groans and “come ooooooon”’s of fan frustration might just as easily (though not as publicly) come out of a stage-builder’s mouth at a wayward flat or a misplaced drill bit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And what other high-stakes sporting event in San Francisco could bring groups of friends (such as SF Hibernian teammates Carly Andler and Bethany Barker, supporting Croatia and England respectively), and even families (such as that of the Takhars, England supporters, save for grandmother Dori Jafarieh, holding out for Croatia), out in force to sit together while supporting different teams, yet still maintain conviviality and an appreciation not just for results, but for the experience of the game as performance?\u003c/p>\n\u003cfigure id=\"attachment_13836986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8483-800x533.jpg\" alt=\"Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>England-born Napa resident Nicky Robert might have come out ostensibly to support Gareth Southgate’s scrappy underdogs, but really, she was just glad for a day in the sun watching them go as far as they could in enthusiastic company. As for Croatian-born Ivana Zubonja however, nothing but a Croatian win would do. Her pride for her team radiated from her checkerboard jersey, and her cheers could be heard from halfway across the park when they equalized. And do any of them find beauty in the “beautiful game”? Not everyone seemed too sure about that, but England supporter Paul Griffith, “old enough to remember when the phrase applied to the Brazilian attacking game,” certainly did.\u003c/p>\n\u003cp>“I know it’s really physics, and all that. But watching the ball curve (into the goal) seems magical.”\u003c/p>\n\u003cfigure id=\"attachment_13836992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8504-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what a performance it was. With England up a point the entire first half, it felt like Croatia was having to chip away at their strength with Sisyphean struggle, one step forward, two steps back. But their practiced slog yielded the intended result in the 68th minute, as Croatian Ivan Perišić landed a controversial goal that fired up not just the patient Croatian supporters at Sue Bierman park, but the National team, who seemed in the moment to shake off any lingering dejection to dominate the rest of the game. England’s goalkeeper Jordan Pickford often seeming like the only player really standing between Croatia and the ball, as England’s defense appeared uncertain how to stop Croatia from shooting at a goal—save for that aforementioned Kyle Walker bollock-block, a sacrifice soon forgotten as Mario Mandžukić drove in a second goal for Croatia three minutes later at the 109th minute of play. A moment that seems to burden the English team with an extra 10 years’ worth of haggard lines (though the younger team by far), just as it washed the fraught exhaustion from Croatia’s faces as they mobbed each other, and Yuri Gomez, in their beatific joy.\u003c/p>\n\u003cfigure id=\"attachment_13837006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8570-800x533.jpg\" alt=\"Ivana Zubonja, Julia Wu and friends celebrate Croatia's win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ivana Zubonja, Julia Wu and friends celebrate Croatia’s win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, like any performance, it was over. And the assembled audience, with all of our assorted reasons for being there, fair-weather fans and diehard supporters alike, rose almost as one, and began to file out of the outdoor theater of the park. Back to home or offices or Napa or whatever other obligations awaited our afternoon. On my way out, I ran into Ivana Zubonja and her friends again, and we exchanged high fives. “See you at the final,” she confirmed, as we dispersed our separate ways.\u003c/p>\n\u003cp>Definitely.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch the public screening of the World Cup final at the Civic Center on Sunday, July 15, at 8am. \u003ca href=\"https://www.worldcupsf.com/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "The Art of the Game: the Aesthetics of World Cup Soccer in San Francisco | KQED",
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"headline": "The Art of the Game: the Aesthetics of World Cup Soccer in San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you don’t watch soccer, you’ve probably heard it referred to at some point as “the beautiful game.” While the exact origin of the phrase is in some dispute (like “beatnik,” there are a few claimants), it’s become one of the default phrases employed to describe the sport as a whole. And while beauty is very much in the eye of the beholder, one need only watch a replay of the \u003ca href=\"https://www.youtube.com/watch?v=XLa9wP-BVzQ\" target=\"_blank\" rel=\"noopener noreferrer\">first goal scored\u003c/a> in the England-Croatia World Cup semifinal match by English defender Kieran Trippier—a swooping arc flying first over the heads of Croatia’s defensive “wall,” then soaring above goalkeeper Danijel Subašić to smash into the back of the net—to get a sense of the game’s \u003cem>potential\u003c/em> for beautiful moments.\u003c/p>\n\u003cp>In fact, there’s so much potential for beauty in soccer, especially at the World Cup level, that it can move an arts journalist such as myself to spend the better part of a month lurking in dark bars at 7am. As the games have progressed from knockout rounds, to the final sixteen, the final eight, the quarterfinals, and the best of the best (or sometimes just the luckiest) inching their way to this weekend’s finals, I find I can hardly resist the very theatre-like qualities of the World Cup and, particularly in large outdoor public screenings, its fans.\u003c/p>\n\u003cfigure id=\"attachment_13836997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8531-800x533.jpg\" alt=\"Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soccer has so much happening that it could be said to encompass a wide variety of art forms within its sweaty bosom. The almost balletic precision of Spain’s “tiki-taka” passing game as contrasted with the spontaneous improv of a lucky header such as that of Belgium’s Jan Vertonghen against Japan, a literal long shot turned unexpected goal. The physical beauty of athletic bodies in motion, without giant helmets or baggy trousers to mar the view. The high drama of high stakes leading to shoving matches and shouted epithets on the pitch (to say nothing of the stands), some inspired by fresh insults, some by deep-seated rivalries stretching back generations. The low humor of a ball planted squarely in England defender Kyle Walker’s \u003cem>bollocks\u003c/em> and the unabashed emotion on the faces of the Croatian team after cementing their winning goal in the 109th minute of play, particularly \u003ca href=\"https://petapixel.com/2018/07/12/photographer-gets-dog-piled-at-world-cup-and-keeps-on-shooting/\">as captured by Salvadoran photojournalist Yuri Cortez\u003c/a>, who was buried in the middle of their celebratory dogpile.\u003c/p>\n\u003cfigure id=\"attachment_13836996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836996\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8528-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sue Bierman Park, a grassy knoll sandwiched between Drumm and the Embarcadero, a crowd gathered Wednesday to watch an outdoor screening of the World Cup semi-final match between England and Croatia, a courtesy provided by San Francisco Parks and Recreation (the final will be screened at the Civic Center on Sunday, July 15). Unlike many of the bars that show World Cup games in San Francisco, these outdoor screenings have a way of drawing supporters of both teams, and yet none (that I’ve been to) have had any serious altercations. We are civil “football” fans in SF, it seems, but that doesn’t stop the pageantry, people wrapped in flags, facepaint, team colors, or the palpable tension and anticipation that rises with each unpredictable twist in plot. Folks from all walks of life come to represent and be represented. For them, as well as for the players looming on the giant screen above us, a World Cup soccer game can be emotionally challenging, physically demanding, and potentially transcendent.\u003c/p>\n\u003cfigure id=\"attachment_13837003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8558-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although at first glance, and second count, supporters of England appeared to outnumber those of Croatia at the screening, as the game progressed and Croatia’s chances improved, those few appeared to swell in number, or at least in appreciative vocalization. And while it might be inappropriate to make such sounds at a particularly stirring Symphony performance, it would certainly not be out of place after a beautifully improvised jazz solo or a fan favorite rock anthem played third on the set list at the Independent. The groans and “come ooooooon”’s of fan frustration might just as easily (though not as publicly) come out of a stage-builder’s mouth at a wayward flat or a misplaced drill bit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And what other high-stakes sporting event in San Francisco could bring groups of friends (such as SF Hibernian teammates Carly Andler and Bethany Barker, supporting Croatia and England respectively), and even families (such as that of the Takhars, England supporters, save for grandmother Dori Jafarieh, holding out for Croatia), out in force to sit together while supporting different teams, yet still maintain conviviality and an appreciation not just for results, but for the experience of the game as performance?\u003c/p>\n\u003cfigure id=\"attachment_13836986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8483-800x533.jpg\" alt=\"Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>England-born Napa resident Nicky Robert might have come out ostensibly to support Gareth Southgate’s scrappy underdogs, but really, she was just glad for a day in the sun watching them go as far as they could in enthusiastic company. As for Croatian-born Ivana Zubonja however, nothing but a Croatian win would do. Her pride for her team radiated from her checkerboard jersey, and her cheers could be heard from halfway across the park when they equalized. And do any of them find beauty in the “beautiful game”? Not everyone seemed too sure about that, but England supporter Paul Griffith, “old enough to remember when the phrase applied to the Brazilian attacking game,” certainly did.\u003c/p>\n\u003cp>“I know it’s really physics, and all that. But watching the ball curve (into the goal) seems magical.”\u003c/p>\n\u003cfigure id=\"attachment_13836992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8504-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what a performance it was. With England up a point the entire first half, it felt like Croatia was having to chip away at their strength with Sisyphean struggle, one step forward, two steps back. But their practiced slog yielded the intended result in the 68th minute, as Croatian Ivan Perišić landed a controversial goal that fired up not just the patient Croatian supporters at Sue Bierman park, but the National team, who seemed in the moment to shake off any lingering dejection to dominate the rest of the game. England’s goalkeeper Jordan Pickford often seeming like the only player really standing between Croatia and the ball, as England’s defense appeared uncertain how to stop Croatia from shooting at a goal—save for that aforementioned Kyle Walker bollock-block, a sacrifice soon forgotten as Mario Mandžukić drove in a second goal for Croatia three minutes later at the 109th minute of play. A moment that seems to burden the English team with an extra 10 years’ worth of haggard lines (though the younger team by far), just as it washed the fraught exhaustion from Croatia’s faces as they mobbed each other, and Yuri Gomez, in their beatific joy.\u003c/p>\n\u003cfigure id=\"attachment_13837006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8570-800x533.jpg\" alt=\"Ivana Zubonja, Julia Wu and friends celebrate Croatia's win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ivana Zubonja, Julia Wu and friends celebrate Croatia’s win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, like any performance, it was over. And the assembled audience, with all of our assorted reasons for being there, fair-weather fans and diehard supporters alike, rose almost as one, and began to file out of the outdoor theater of the park. Back to home or offices or Napa or whatever other obligations awaited our afternoon. On my way out, I ran into Ivana Zubonja and her friends again, and we exchanged high fives. “See you at the final,” she confirmed, as we dispersed our separate ways.\u003c/p>\n\u003cp>Definitely.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch the public screening of the World Cup final at the Civic Center on Sunday, July 15, at 8am. \u003ca href=\"https://www.worldcupsf.com/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Power of Taking Up Space: Marshawn Lynch's Oakland Rideout",
"headTitle": "The Power of Taking Up Space: Marshawn Lynch’s Oakland Rideout | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> wasn’t sure what to expect when I rode up on my 21-speed to the Beastmode store in downtown Oakland, my daughter sitting comfy in the child seat attached to the back of my bike. Even though it was past her nap time, I figured we’d just see what all the commotion was about.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>At first, I only saw 25-35 other people on bikes gathered on Broadway in front of the store, awaiting the start of Oakland Rideout 2, the second city-wide ride hosted by NFL players Marshawn Lynch and Josh Johnson. But then I pushed past the first cadre of cyclists, peeked around the corner at 10th Street toward Washington Street, and boom: a massive fleet of cyclists and scooter riders. \u003cem>Hundreds\u003c/em> of them. All waiting on the start of the ride.\u003c/p>\n\u003cp>Oakland Rideout is just that: a bike ride. It’s not a protest, or a demonstration. But in a year when people of color have had the police called on them for \u003ca href=\"https://www.youtube.com/watch?v=Fh9D_PUe7QI\" target=\"_blank\" rel=\"noopener noreferrer\">BBQing\u003c/a>, \u003ca href=\"https://www.kqed.org/news/11676866/permit-patty-goes-viral-after-threatening-to-call-cops-on-girl-selling-water-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">selling water\u003c/a>, \u003ca href=\"https://www.nytimes.com/2018/06/26/us/oakland-black-firefighter-bias.html\" target=\"_blank\" rel=\"noopener noreferrer\">being a firefighter\u003c/a>, \u003ca href=\"https://www.nytimes.com/2018/05/08/us/airbnb-black-women-police.html\" target=\"_blank\" rel=\"noopener noreferrer\">checking out of an Airbnb\u003c/a>, \u003ca href=\"https://www.motherjones.com/crime-justice/2018/05/11-more-things-you-cannot-do-while-black-starbucks-nordstrom-rack-1/\" target=\"_blank\" rel=\"noopener noreferrer\">sleeping in their own dorm\u003c/a>—the \u003ca href=\"https://www.washingtonpost.com/national/living-while-black-viral-videos-raise-concerns-about-everyday-racial-profiling/2018/05/29/d4bd630a-5b74-11e8-8836-a4a123c359ab_story.html?noredirect=on&utm_term=.1346554b7279\" target=\"_blank\" rel=\"noopener noreferrer\">list goes on\u003c/a>—simply \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">taking up space and celebrating together\u003c/a> is an act of liberation in itself.\u003c/p>\n\u003cp>And yeah, there were big names involved. Along with Marshawn Lynch, the ride involved a handful of pro BMX riders, SE Bikes, and even a business sponsor (Lime, which manages those green bikes around town).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But really, the ride was about the young people.\u003c/p>\n\u003cfigure id=\"attachment_13836228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-800x600.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile waiting for the ride to start, one young brother rode in my direction, standing with one foot on his seat and the other on his handlebars, as he “surfed” his bike past the “For Lease” sign at the base of a newly constructed building full of overpriced apartments.\u003c/p>\n\u003cp>Moments later, NFL star Marshawn Lynch, Beastmode himself, pulled up and hopped out of the passenger seat of what looked to be a late-’90s–early-2000s four-door Honda Civic; “an under bucket” would probably be the best local colloquialism I’d use to describe the vehicle. A crowd of teenagers flocked around him as he and his cousin, NFL Quarterback Josh Johnson, prepared to ride out.\u003c/p>\n\u003cp>A couple minutes after noon, the platoon took to the streets; I fell inline. First commandeering Broadway, headed north to 11th street, where we made a right and headed east. We went through the tunnel by the museum and around the southern fringe of Lake Merritt, before banging a right on \u003ca href=\"https://www.sfgate.com/bayarea/article/Oakland-Renames-East-14th-Street-It-ll-be-2983004.php\" target=\"_blank\" rel=\"noopener noreferrer\">East 14th Street\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13836226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836226\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-800x533.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first neighborhood we hit is commonly referred to as Funktown. There, Asian storeowners and residents stood curbside, cameras in hand as they recorded the stream of what had easily grown to over 1,000 cyclists.\u003c/p>\n\u003cp>All shades of black, brown and white people were in motion through East Oakland—mostly boys and men, but plenty of women scattered in the pack too. All ages, too: I saw some artists who are OGs in the graffiti world, and cheered on the push of an elementary-aged kid as he rode a bike that looked like its training wheels had just been taken off.\u003c/p>\n\u003cp>All the while, my daughter was comfy in her seat, waving at people; she didn’t appear to be thinking about that nap, and probably wouldn’t have been able to sleep through the music anyway. There were people with Bluetooth speakers, a couple folks with three-wheel bikes allowing them to carry larger speakers, and even one guy who had a studio monitor-sized speaker strapped to his back.\u003c/p>\n\u003cfigure id=\"attachment_13836227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-800x450.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These mobile sound systems blasted well-known hits from local artists, folks like Mac Dre, Kamaiyah and ALLBLACK, and the people on the streets couldn’t help but watch in amazement. The young black sister on the corner with the short skirt and tall heels who smiled as we passed. The older Latino brother in the 10-gallon hat who waved as he stepped outside of the Iglesia. The little Filipino kids on their apartment stairs who pointed in awe as the fleet flew by.\u003c/p>\n\u003cp>This procession might sound chaotic, but it wasn’t. The professional BMX riders and others working the event paused at each intersection to make sure traffic didn’t cross our path. They were also vocal toward the cyclists, demanding we all stay to the right, so as to not block oncoming traffic.\u003c/p>\n\u003cp>We dodged potholes and kept pedaling as we came around the corner near Rainbow Recreational Center, where the scene was parade-like. People stood on their porches cheering for us and asking us where we were going. We traveled up Seminary, in the direction of where a man had been killed on the Friday night prior to the ride, but turned a left on Foothill before reaching the crime scene. Some people cut through the parking lot of the newly constructed Seminary Point shopping center, hitting wheelies and doing bunny hops over the curbs.\u003c/p>\n\u003cfigure id=\"attachment_13836223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-800x534.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We biked through the smell of weed being smoked and BBQ grills getting lit. We passed the Muslim Brothers in suits in front of the mosque, past Fremont High, then past the Mac Dre mural and the “We Buy Ugly Homes” advertisement. People in cars stuck their arms out the window for high-fives.\u003c/p>\n\u003cp>We eventually ended up at San Antonio Park for our first real rest. It was enough time for my daughter to have a snack, run through the grass and play on the swings. (Nap? What nap?) An impromptu bike sideshow started in the middle of the street, as someone on a dirt bike swang donuts and people gathered around to watch; Marshawn and Josh included.\u003c/p>\n\u003cp>After the smokers got their tokes and the sippers wet their lips, people were back on the road: Lake Merritt bound.\u003c/p>\n\u003cfigure id=\"attachment_13836225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836225\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-800x450.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s we descended on the Lakeshore side of Lake Merritt, I thought about all that’s transpired in that area over the past few weeks: the stories of “BBQ Becky” and “Jogger Joe,” and how those cases were largely about power, privilege and policing the lives of people of color. Even the story from a day prior to the bike ride, across the Bay, where a white woman called the police on a little black girl for selling water—the “Permit Patty” incident.\u003c/p>\n\u003cp>Whether it’s the selling of water, sleeping in a makeshift dwelling or preparing food with family, these stories are about people of color simply existing, and people with perceived power policing their existence.\u003c/p>\n\u003cfigure id=\"attachment_13836224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13836224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1020x1528.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"640\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-801x1200.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-960x1438.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs.jpg 1282w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But on Sunday afternoon, the bikers weren’t having that. They were existing to the fullest; living their best life, as the kids say.\u003c/p>\n\u003cp>I saw the late June sun bounce off of so many gold grills that day.\u003c/p>\n\u003cp>I mean, I also saw a half-dozen minor bike accidents; people falling after trying to stunt on wheelies or ride with no hands. One young man on a double-decker scraper bike without brakes rear-ended someone else. But I didn’t see any injuries, nor any major conflicts between bikers or drivers. Everyone who fell got back up and kept riding.\u003c/p>\n\u003cp>And even that aspect of the ride is important. These kids were free to make mistakes, which all too often isn’t the case for young people of color in America. Mistakes? Hell, for some, simply existing is its own consequence.\u003c/p>\n\u003cfigure id=\"attachment_13836230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-800x600.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And no, Marshawn and Josh, the sponsors and the BMX riders—they weren’t organizing a protest. They weren’t politicizing the people of Oakland. They were just giving folks a chance to get out, exist in public, and claim their space. That’s worth a lot these days.\u003c/p>\n\u003cp>As the seemingly never-ending trail of bikes wrapped around the northern portion of Lake Merritt, flowing from Lakeshore to Grand, eventually back downtown and then toward Marshawn and Josh’s alma mater, Oakland Tech, my daughter and I spun off. It was well past her nap time, and almost time for mine.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> wasn’t sure what to expect when I rode up on my 21-speed to the Beastmode store in downtown Oakland, my daughter sitting comfy in the child seat attached to the back of my bike. Even though it was past her nap time, I figured we’d just see what all the commotion was about.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>At first, I only saw 25-35 other people on bikes gathered on Broadway in front of the store, awaiting the start of Oakland Rideout 2, the second city-wide ride hosted by NFL players Marshawn Lynch and Josh Johnson. But then I pushed past the first cadre of cyclists, peeked around the corner at 10th Street toward Washington Street, and boom: a massive fleet of cyclists and scooter riders. \u003cem>Hundreds\u003c/em> of them. All waiting on the start of the ride.\u003c/p>\n\u003cp>Oakland Rideout is just that: a bike ride. It’s not a protest, or a demonstration. But in a year when people of color have had the police called on them for \u003ca href=\"https://www.youtube.com/watch?v=Fh9D_PUe7QI\" target=\"_blank\" rel=\"noopener noreferrer\">BBQing\u003c/a>, \u003ca href=\"https://www.kqed.org/news/11676866/permit-patty-goes-viral-after-threatening-to-call-cops-on-girl-selling-water-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">selling water\u003c/a>, \u003ca href=\"https://www.nytimes.com/2018/06/26/us/oakland-black-firefighter-bias.html\" target=\"_blank\" rel=\"noopener noreferrer\">being a firefighter\u003c/a>, \u003ca href=\"https://www.nytimes.com/2018/05/08/us/airbnb-black-women-police.html\" target=\"_blank\" rel=\"noopener noreferrer\">checking out of an Airbnb\u003c/a>, \u003ca href=\"https://www.motherjones.com/crime-justice/2018/05/11-more-things-you-cannot-do-while-black-starbucks-nordstrom-rack-1/\" target=\"_blank\" rel=\"noopener noreferrer\">sleeping in their own dorm\u003c/a>—the \u003ca href=\"https://www.washingtonpost.com/national/living-while-black-viral-videos-raise-concerns-about-everyday-racial-profiling/2018/05/29/d4bd630a-5b74-11e8-8836-a4a123c359ab_story.html?noredirect=on&utm_term=.1346554b7279\" target=\"_blank\" rel=\"noopener noreferrer\">list goes on\u003c/a>—simply \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">taking up space and celebrating together\u003c/a> is an act of liberation in itself.\u003c/p>\n\u003cp>And yeah, there were big names involved. Along with Marshawn Lynch, the ride involved a handful of pro BMX riders, SE Bikes, and even a business sponsor (Lime, which manages those green bikes around town).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But really, the ride was about the young people.\u003c/p>\n\u003cfigure id=\"attachment_13836228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-800x600.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile waiting for the ride to start, one young brother rode in my direction, standing with one foot on his seat and the other on his handlebars, as he “surfed” his bike past the “For Lease” sign at the base of a newly constructed building full of overpriced apartments.\u003c/p>\n\u003cp>Moments later, NFL star Marshawn Lynch, Beastmode himself, pulled up and hopped out of the passenger seat of what looked to be a late-’90s–early-2000s four-door Honda Civic; “an under bucket” would probably be the best local colloquialism I’d use to describe the vehicle. A crowd of teenagers flocked around him as he and his cousin, NFL Quarterback Josh Johnson, prepared to ride out.\u003c/p>\n\u003cp>A couple minutes after noon, the platoon took to the streets; I fell inline. First commandeering Broadway, headed north to 11th street, where we made a right and headed east. We went through the tunnel by the museum and around the southern fringe of Lake Merritt, before banging a right on \u003ca href=\"https://www.sfgate.com/bayarea/article/Oakland-Renames-East-14th-Street-It-ll-be-2983004.php\" target=\"_blank\" rel=\"noopener noreferrer\">East 14th Street\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13836226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836226\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-800x533.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first neighborhood we hit is commonly referred to as Funktown. There, Asian storeowners and residents stood curbside, cameras in hand as they recorded the stream of what had easily grown to over 1,000 cyclists.\u003c/p>\n\u003cp>All shades of black, brown and white people were in motion through East Oakland—mostly boys and men, but plenty of women scattered in the pack too. All ages, too: I saw some artists who are OGs in the graffiti world, and cheered on the push of an elementary-aged kid as he rode a bike that looked like its training wheels had just been taken off.\u003c/p>\n\u003cp>All the while, my daughter was comfy in her seat, waving at people; she didn’t appear to be thinking about that nap, and probably wouldn’t have been able to sleep through the music anyway. There were people with Bluetooth speakers, a couple folks with three-wheel bikes allowing them to carry larger speakers, and even one guy who had a studio monitor-sized speaker strapped to his back.\u003c/p>\n\u003cfigure id=\"attachment_13836227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-800x450.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These mobile sound systems blasted well-known hits from local artists, folks like Mac Dre, Kamaiyah and ALLBLACK, and the people on the streets couldn’t help but watch in amazement. The young black sister on the corner with the short skirt and tall heels who smiled as we passed. The older Latino brother in the 10-gallon hat who waved as he stepped outside of the Iglesia. The little Filipino kids on their apartment stairs who pointed in awe as the fleet flew by.\u003c/p>\n\u003cp>This procession might sound chaotic, but it wasn’t. The professional BMX riders and others working the event paused at each intersection to make sure traffic didn’t cross our path. They were also vocal toward the cyclists, demanding we all stay to the right, so as to not block oncoming traffic.\u003c/p>\n\u003cp>We dodged potholes and kept pedaling as we came around the corner near Rainbow Recreational Center, where the scene was parade-like. People stood on their porches cheering for us and asking us where we were going. We traveled up Seminary, in the direction of where a man had been killed on the Friday night prior to the ride, but turned a left on Foothill before reaching the crime scene. Some people cut through the parking lot of the newly constructed Seminary Point shopping center, hitting wheelies and doing bunny hops over the curbs.\u003c/p>\n\u003cfigure id=\"attachment_13836223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-800x534.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We biked through the smell of weed being smoked and BBQ grills getting lit. We passed the Muslim Brothers in suits in front of the mosque, past Fremont High, then past the Mac Dre mural and the “We Buy Ugly Homes” advertisement. People in cars stuck their arms out the window for high-fives.\u003c/p>\n\u003cp>We eventually ended up at San Antonio Park for our first real rest. It was enough time for my daughter to have a snack, run through the grass and play on the swings. (Nap? What nap?) An impromptu bike sideshow started in the middle of the street, as someone on a dirt bike swang donuts and people gathered around to watch; Marshawn and Josh included.\u003c/p>\n\u003cp>After the smokers got their tokes and the sippers wet their lips, people were back on the road: Lake Merritt bound.\u003c/p>\n\u003cfigure id=\"attachment_13836225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836225\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-800x450.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s we descended on the Lakeshore side of Lake Merritt, I thought about all that’s transpired in that area over the past few weeks: the stories of “BBQ Becky” and “Jogger Joe,” and how those cases were largely about power, privilege and policing the lives of people of color. Even the story from a day prior to the bike ride, across the Bay, where a white woman called the police on a little black girl for selling water—the “Permit Patty” incident.\u003c/p>\n\u003cp>Whether it’s the selling of water, sleeping in a makeshift dwelling or preparing food with family, these stories are about people of color simply existing, and people with perceived power policing their existence.\u003c/p>\n\u003cfigure id=\"attachment_13836224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13836224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1020x1528.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"640\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-801x1200.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-960x1438.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs.jpg 1282w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But on Sunday afternoon, the bikers weren’t having that. They were existing to the fullest; living their best life, as the kids say.\u003c/p>\n\u003cp>I saw the late June sun bounce off of so many gold grills that day.\u003c/p>\n\u003cp>I mean, I also saw a half-dozen minor bike accidents; people falling after trying to stunt on wheelies or ride with no hands. One young man on a double-decker scraper bike without brakes rear-ended someone else. But I didn’t see any injuries, nor any major conflicts between bikers or drivers. Everyone who fell got back up and kept riding.\u003c/p>\n\u003cp>And even that aspect of the ride is important. These kids were free to make mistakes, which all too often isn’t the case for young people of color in America. Mistakes? Hell, for some, simply existing is its own consequence.\u003c/p>\n\u003cfigure id=\"attachment_13836230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-800x600.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And no, Marshawn and Josh, the sponsors and the BMX riders—they weren’t organizing a protest. They weren’t politicizing the people of Oakland. They were just giving folks a chance to get out, exist in public, and claim their space. That’s worth a lot these days.\u003c/p>\n\u003cp>As the seemingly never-ending trail of bikes wrapped around the northern portion of Lake Merritt, flowing from Lakeshore to Grand, eventually back downtown and then toward Marshawn and Josh’s alma mater, Oakland Tech, my daughter and I spun off. It was well past her nap time, and almost time for mine.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "its-horrifying-10-bay-area-artists-speak-out-on-child-detainment-at-the-border",
"title": "'It's Horrifying': 11 Bay Area Artists Speak Out on Child Detainment at the Border",
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"headTitle": "‘It’s Horrifying’: 11 Bay Area Artists Speak Out on Child Detainment at the Border | KQED",
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"content": "\u003cp>This week, we learned that the U.S. has \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">separated over 2,300 children from their parents\u003c/a> at the U.S.-Mexico border and placed them in \u003ca href=\"https://twitter.com/DavidBegnaud/status/1008704668816560128\" target=\"_blank\" rel=\"noopener noreferrer\">chain-link cages\u003c/a>, tent camps and other detainment centers. Audio circulated of \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">crying children begging for their moms and dads\u003c/a>, and allegations surfaced of border patrol agents \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/23/613907893/aclu-report-detained-immigrant-children-subjected-to-widespread-abuse-by-officia\" target=\"_blank\" rel=\"noopener noreferrer\">kicking migrant children and threatening them with sexual abuse\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, President Trump reversed course and signed an executive order for “\u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">detaining alien families together\u003c/a>,” stopping his policy of family separations while allowing for indefinite detainment and providing \u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">no plan for reuniting children\u003c/a> already separated from their parents. Those children include a \u003ca href=\"https://www.washingtonpost.com/world/the_americas/international-outrage-grows-over-separating-migrant-children-from-parents/2018/06/19/13d0332e-73cb-11e8-bda1-18e53a448a14_story.html?utm_term=.e66e009751b2\" target=\"_blank\" rel=\"noopener noreferrer\">10-year-old girl with Down syndrome\u003c/a>, and \u003ca href=\"https://www.nytimes.com/2018/06/20/us/tender-age-shelters-family-separation-immigration.html\" target=\"_blank\" rel=\"noopener noreferrer\">“tender age” detainees as young as 12 months old\u003c/a>. The Pentagon has been asked to prepare \u003ca href=\"https://www.kqed.org/news/11676360/military-asked-to-provide-20000-beds-for-detained-immigrant-children\" target=\"_blank\" rel=\"noopener noreferrer\">additional housing for up to 20,000 children\u003c/a>, while thus far, images of detainment camps show only boys. \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">No one knows where the girls are\u003c/a>.\u003c/p>\n\u003cp>Which is to say: if you’re fatigued, you’re \u003ca href=\"https://twitter.com/edyong209/status/1009805404954615808\" target=\"_blank\" rel=\"noopener noreferrer\">not alone\u003c/a>. To get some clarity, catharsis and—yes—comfort on the subject, KQED Arts checked in with 11 different Bay Area artists who work with themes of immigration and detainment. They spend hours pondering borders, laws, family aspirations, deportations, and human rights in their art, music and other creative endeavors.\u003c/p>\n\u003cp>We knew they’d have insight, and advice. We were not wrong. Read below for their input.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg\" alt=\"Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border. \u003ccite>(Michelle Wetzler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Guillermo Galindo\u003c/h2>\n\u003cp>\u003cem>Musician and composer who \u003ca href=\"https://www.kqed.org/arts/11301274/guillermo-galindo-border-cantos-instruments-interview\" target=\"_blank\" rel=\"noopener noreferrer\">builds instruments from objects left behind by migrants along the border\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s been heartbreaking. Especially hearing the children crying in \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">the recording\u003c/a>, it’s unbearable. It’s something that’s impossible to describe, the feeling it gave me. It brings so many images of suffering, and of the past, of history. I’m afraid that history could be repeating itself: we have the memories of the Jewish holocaust, and the indigenous holocaust, things that have happened to immigrants, black people, Japanese people in concentration camps.\u003c/p>\n\u003cp>But this is maybe one of the few times where it’s out in the open, where it’s visible what is happening. In general, as a society, we have become less sensitive to our intuition, and to our spirituality, and to our feelings of human beings. And I don’t know why that’s been happening. Seeing this so much in the open should bother anybody who’s a human being.\u003c/p>\n\u003cp>The thing now is talk to representatives in your government, taking into account that this is an emergency. This is not a joke. Worse and worse things will happen if you don’t talk to your government. Help \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">humanitarian organizations\u003c/a> that are supporting the children and the families. And to the artists: it’s about this, it’s about something that has a meaning. We’re not in a time when we’re supposed to do art about ourselves and nobody else. This is a time when art is supposed to speak the words that politics and religion are not speaking.\u003c/p>\n\u003cfigure id=\"attachment_13835748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg\" alt=\"Flora Ninomiya was taken to a Japanese-American internment camp at age 7.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flora Ninomiya was taken to a Japanese-American internment camp at age 7. \u003ccite>(Courtesy Flora Ninomiya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flora Ninomiya\u003c/h2>\n\u003cp>\u003cem>Survivor of the Granada Relocation Center, a Japanese-American internment camp, knitter, and \u003ca href=\"https://www.eastbaytimes.com/2017/02/10/richmond-japanese-american-incarceration-to-be-focus-of-special-presentation/\" target=\"_blank\" rel=\"noopener noreferrer\">docent at the Rosie the Riveter Museum\u003c/a> in Richmond\u003c/em>\u003c/p>\n\u003cp>I’m appalled that this is happening—that the president is so callous in how he is carrying out his programs. As a Japanese-American whose family was interned, we were powerless too, like those young children. I was 7 years old and I can still remember that long train trip going to this very isolated desert area and living in the barracks that were built by the United States Army. My father was sent to a separate prison camp from my mother and my siblings and I, and my mother was always sending letters to the government asking to release him. My father, it was really painful for him—he felt betrayed and ashamed.\u003c/p>\n\u003cp>During that time, there were people who helped us, the Quakers, our neighbors, but they had to do so quietly, or they would be marginalized. Today, it’s hopeful that we do see so many Americans speaking out against separating families. It took the American public’s pressure to get the president to issue an executive order.\u003c/p>\n\u003cp>I’m going to keep talking about my family’s experience, and to me it’s very important to support other groups that are being targeted by the government.\u003c/p>\n\u003cfigure id=\"attachment_13835747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg\" alt=\"Diana Gameros' songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Gameros’ songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico. \u003ccite>(Claudia Escobar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diana Gameros\u003c/h2>\n\u003cp>\u003cem>Musician and songwriter from Juarez, Mexico, whose recent album, ‘Arrullo,’ \u003ca href=\"https://www.kqed.org/arts/11514186/women-to-watch-diana-gameros\" target=\"_blank\" rel=\"noopener noreferrer\">expresses the immigrant experience\u003c/a>\u003c/em>\u003c/p>\n\u003cp>My first reaction is to think that it is not possible that this is happening, but it is… it’s horrifying. I feel like in the past two years we get less surprised at what happens, and it’s sad that we are not getting surprised. It is alarming.\u003c/p>\n\u003cp>My advice for other artists is first to be informed, to really know what is happening, and reach out to organizations, and let them know that you are available, that you are willing to help. As artists we have such a visible platform that we can reach many people, and we should use those platforms, especially if you are a well known artist.\u003c/p>\n\u003cp>I can’t stop thinking about the children, and how every minute that goes by, they are in pain. I ask myself: what if that would have happened to me? I know the feeling of what it is to leave your homeland behind. I really hope that people know how much bravery is involved in this process, of leaving your home. I have so much admiration for the people who have this courage to leave their homeland, and carry all that sadness, and all that hope. They have so much love, and want the best for their kids, they are being good parents. It is disgusting that we are separating them, when we should be welcoming them.\u003c/p>\n\u003cfigure id=\"attachment_13835750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg\" alt=\"Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-520x351.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caleb Duarte\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist and educator\u003c/a> who leads \u003ca href=\"https://www.kqed.org/arts/13375958/on-being-young-alone-and-crossing-into-the-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">art workshops with undocumented Central American minors\u003c/a> at Fremont High School\u003c/em>\u003c/p>\n\u003cp>It’s the worst kind of nightmare for a parent. That journey is 3,000 miles of hardship. Knowing the back history and the violence these people face, only to reach the United States and have your children taken away by authorities—that is really hard to take in.\u003c/p>\n\u003cp>And social media is unleashing a lot of support for this kind of act. It leads me to reflect on how any country can support these kinds of actions. We need to step back and understand the suffering and fear of those who support these actions.\u003c/p>\n\u003cp>Art in different times has different purposes. At certain moments art is there to shake us up, and sometimes it’s there to gather us back. Right now I think art is there to create logic and reason rather than challenge it. More than anything, it’s important to speak out. We’d be surprised by who, in our immediate circles, our colleagues and family, think differently than us. I’m trying to find ways to have conversations with people who think otherwise.\u003c/p>\n\u003cfigure id=\"attachment_13835778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-800x516.jpg\" alt=\"A detail from the Oakland Museum of California's 'Sent Away' exhibition, showing tools left behind by a man affected by Mexican repatriations in the 1930s.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the Oakland Museum of California’s ‘Sent Away’ exhibition, showing tools left behind in the Mexican repatriations in the 1930s. \u003ccite>(Erendina Delgadillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Erendina Delgadillo\u003c/h2>\n\u003cp>\u003cem>Associate Curator of History at the Oakland Museum of California, host of recent exhibitions on internment, ‘\u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothea Lange: Politics of Seeing\u003c/a>‘ and ‘\u003ca href=\"http://museumca.org/blog/sent-away-not-forgotten\" target=\"_blank\" rel=\"noopener noreferrer\">Sent Away\u003c/a>‘\u003c/em>\u003c/p>\n\u003cp>It’s been pretty horrifying. But one thing we know is family separations have happened before—with Native Americans, with Japanese families, or with Mexican repatriation in the 1930s. With the recent ‘Sent Away’ installation in our permanent history gallery, we’ve been paying attention to whether the visitors really understand, and if it’s properly conveying the trajectory of racialized communities in moments of political and social stress. In my social media circles, I see people saying, “This is insane! This is not America! This is not who we are!” And I wrestle with it, because the fact is that this has happened before.\u003c/p>\n\u003cp>In the deportations in the ’30s, people were responding to the depression. But the Mexican people deported were not relying on welfare as much as others thought they were. And today, when you hear that they’re causing unprecedented crime, or taking away jobs from “real” Americans, being a drain on the system—that’s not true, but turning them into a specter of those problems is easier than fixing the problem. It’s been very disheartening looking at the pattern of how easily people can be manipulated in very simple ways. You take a feeling, you blow it up, and it obscures the need to delve into really complex issues.\u003c/p>\n\u003cp>It’s a terrible moment. It’s too easy to despair. You’re only shooting yourself by despairing before the fight starts, so donate to organizations, and find those small moments to realize why humanity is valuable, and why we fight for humanity. Remind yourself why life is good.\u003c/p>\n\u003cfigure id=\"attachment_13835737\" class=\"wp-caption aligncenter\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg\" alt=\"Ani Rivera, bottom right, with Galería de la Raza'a curatorial staff in 2016.\" width=\"758\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-520x292.jpg 520w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">Ani Rivera, bottom right, with Galería de la Raza’a curatorial staff in 2016. \u003ccite>(Creo Noveno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ani Rivera\u003c/h2>\n\u003cp>\u003cem>Executive Director for \u003ca href=\"https://kqed.org/arts/tag/galeria-de-la-raza\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de La Raza\u003c/a> in the Mission District, hub for San Francisco’s Latino artist community\u003c/em>\u003c/p>\n\u003cp>It’s just appalling to see how the administration doesn’t value humanity, nor the families that are coming here searching for a better life. They’re being used as pawns to push an agenda. I think our work is not done yet. We need to keep demanding that they close the detention centers. I think that’s where we want to focus: ending the criminalization. We need to stop all profits made from keeping people in cages.\u003c/p>\n\u003cp>We’re definitely contributing to the organized marches and protests being planned for June 30. We will also be at this Friday’s rally in Embarcadero Plaza. We know that art plays a role in creating dialogue and engaging hearts, and we’ll be holding a series of screen-printing demonstrations at these events.\u003c/p>\n\u003cp>The legacy of Galería and René (Yañez, the gallery’s co-founder) and all of the individuals that have contributed and created this space was to address these issues. This is history repeating itself. We’ve been dealing with the criminalization of immigrants for decades. The goal of Galería as an institution is to be a platform for artists to organize. The founders needed to create a community that allowed and provided a path for self-determination. They expect us to be out there.\u003c/p>\n\u003cfigure id=\"attachment_13835744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg\" alt=\"A still from 'Rabbit in the Moon' showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Rabbit in the Moon’ showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona. \u003ccite>(Courtesy Chizu Omori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chizu Omori\u003c/h2>\n\u003cp>\u003cem>Bay Area journalist and co-producer of the documentary ‘Rabbit in the Moon’ who, in 1942 at the age of 12, \u003ca href=\"https://caamedia.org/blog/2017/02/16/emiko-and-chizu-omori-on-lessons-from-wwii-incarceration/\" target=\"_blank\" rel=\"noopener noreferrer\">was sent with her sister Emiko Omori and their family to the Poston War Relocation Center\u003c/a> in Arizona \u003c/em>\u003c/p>\n\u003cp>The fact that they would implement this policy is so inhumane. There’s a great deal of interest now in what happened to us during WWII to us Japanese Americans. A precedent was set when Roosevelt issued EO 9066, and even though it’s been condemned as a big mistake, that precedent has been used by the Trump administration to justify some of the things they’ve been doing. So of course, I feel an obligation to speak out against what’s happening as something very reminiscent of what happened to us 75 years ago.\u003c/p>\n\u003cp>It’s happened with the travel ban against Muslims, and this general discrimination against people of Muslim faith or people from the Middle East in general. It’s part of the current of racism that’s been part of our history from the very beginning, directed towards people of color. Now it’s against people from Central and South America who are not white people. It’s a language that our president uses to reemphasize this bias against people of color. He refers to us as infestations, or awful characterizations like rapists and murderers. It’s dehumanizing for him to be using this language.\u003c/p>\n\u003cp>Children being separated from their parents at the border is something that I don’t think any of us had contemplated. To take infants… what’s the purpose in doing this? There’s no rationale for it. If you’re going to ask people to stand up and be counted, how many people are for this? Why do they justify doing this thing?\u003c/p>\n\u003cp>I belong to a group called Nikkei Resisters. Our slogan is “Never Again.” Detention and internment are really un-American and we need to speak out and say “It happened to us. And we don’t want to see it happening again.”\u003c/p>\n\u003cfigure id=\"attachment_13835738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835738\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg\" alt=\"Brian Moss teaches a student population that's 85-percent Latino; 'their fear has been validated,' he says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Moss teaches a student population that’s 85-percent Latino; ‘their fear has been validated,’ he says. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brian Moss\u003c/h2>\n\u003cp>\u003cem>San Francisco songwriter (Hanalei, Great Apes) and schoolteacher who \u003ca href=\"https://hanalei.bandcamp.com/track/cross-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">released the song “Cross Crossing”\u003c/a> this week in reaction to abuses at the border\u003c/em>\u003c/p>\n\u003cp>Separating families and children seems so immoral and deplorable, it’s shocking, but with this presidency and this administration the bar has been so low it didn’t completely catch me off-guard. And being a teacher, and given the population of my school, which is 85-percent Latino, it’s something I’ve seen the effects of the whole time. For many of my students, the fear they were already facing rose drastically when he was elected, and now that fear has been validated. It’s happening to them. It’s disturbing and hard to witness.\u003c/p>\n\u003cp>The issue of separating families is so immoral to me that some sort of response, either though song, or \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>, or protesting, or going down there volunteering with an organization that’s trying to provide legal aid—anything you can do is a start.\u003c/p>\n\u003cfigure id=\"attachment_13835800\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835800\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg\" alt=\"Naima Shalhoub: 'we must cry out with each other through our art, together, to respond to this madness.'\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naima Shalhoub: ‘we must cry out with each other through our art, together, to respond to this madness.’ \u003ccite>(Sarah Deragon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Naima Shalhoub\u003c/h2>\n\u003cp>\u003cem>Oakland songwriter whose song “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">Borderlands\u003c/a>” tells of “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">a constructed order of things that decides what and who is more valuable\u003c/a>”\u003c/em>\u003c/p>\n\u003cp>What strikes me the most is how conditioned we are becoming to see people through the lenses of our fear, our politics, our scarcity mindsets rather than insisting that all people under the sun are treated with dignity and love. We are forgetting that we have the power to create systems that reflect justice and love, not fear and confinement. We are becoming dismembered from any semblance of connection to land, to spirit, to honor, to respect and instead bowing down to new gods of greed, patriarchy, racism—so much so that a child’s cry does not waken the heart to compassion. Or at least, this is my worry. For our souls, collectively.\u003c/p>\n\u003cp>What is happening is a reflection of what has been buried under the soil of what is now called the United States. The sorrow, the unheard cries, and histories ghosts are truly rising until we all wake to its truth. We must do better by committing to our collective memory—all of it—and holding accountable the leaders who do not. The privilege of forgetting becomes manifest in institutions that create walls separating families, unable to share with the public where our girls and babies are. This is about our responsibility to our children’s future and their safety and dignity by allowing the past to speak.\u003c/p>\n\u003cp>If Nina Simone’s call to action was “it is an artist’s duty to reflect the times,” then we must cry out with each other through our art, together, to respond to this madness.\u003c/p>\n\u003cfigure id=\"attachment_13835934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg\" alt=\"'Horizons,' by Najib Joe Hakim.\" width=\"800\" height=\"179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-160x36.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-768x172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-1020x228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-960x215.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-240x54.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-375x84.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-520x116.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Horizons,’ by Najib Joe Hakim. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Najib Joe Hakim\u003c/h2>\n\u003cp>\u003cem>San Francisco photographer and YBCA fellow whose current project, ‘\u003ca href=\"https://electronicintifada.net/content/palestinian-america-najib-joe-hakims-home-away-home/14073\" target=\"_blank\" rel=\"noopener noreferrer\">Home Away From Home\u003c/a>,’ pairs oral histories of 26 Bay Area Palestinian Americans with their portraits\u003c/em>\u003c/p>\n\u003cp>My own family immigrated to the U.S. in the 1950s from Lebanon. Except for the details, ours is a very common story, which most Americans share. Refugees out of Palestine, my parents then left Beirut on a ship with two very young kids and $5 in their pocket. In the coming years, through hard work, education and uncountable sacrifices, we became thriving American citizens.\u003c/p>\n\u003cp>I hate to think what might have become of us had we not snared four of only 100 immigration visas. Would I be staring down a machine gun barrel held by a 20-year-old Israeli soldier? Would we have been caught up in one of the many massacres of the 20-year Lebanese Civil War? Would my kids now be desperately trying to leave Syria on a dinghy with their own children?\u003c/p>\n\u003cp>What I see happening today to immigrant families is the writing of yet another chapter of American history in which the country’s values do not line up with its reality. When people say “I don’t recognize this country anymore,” they are expressing the profound contradictions between what we’ve all been taught about this country and what we see being done in our name.\u003c/p>\n\u003cp>We live in a new dark age in which civilian lives are dehumanized; science and nature are scoffed at; and atavistic fears send us scurrying toward our basest natures. In such times, we artists are challenged to help remind us of our loftier, sacred and shared aspirations.\u003c/p>\n\u003cfigure id=\"attachment_13835745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835745\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg\" alt=\"Yosimar Reyes: 'If you’re standing in sidelines, you’re part of the problem.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes: ‘If you’re standing in sidelines, you’re part of the problem.’ \u003ccite>(Courtesy Yosimar Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yosimar Reyes\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://yosimarreyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poet, educator, and founder of La Maricolectiva\u003c/a>, a community based performance group of queer undocumented poets\u003c/em>\u003c/p>\n\u003cp>This week has been a lot. I think it’s great that it’s getting national visibility and a lot of people are learning about these atrocities—I think it’s a really positive thing. People are blatantly stating that we need to abolish immigrant prisons. But for me, it’s more like, it’s always been like this so I’m not surprised. I’m just glad people are realizing the reality of how it is and people are mobilizing and opening their eyes to the fact that this is how it’s been for a lot of folks.\u003c/p>\n\u003cp>With immigration, everything moves so fast and it escalates after a short amount of time. I’m curious to see how it’s going to influence a lot of the writing that I’m doing, but I’m still processing. Organizations on the ground in Texas are doing really good work, they’re giving people legal aid, and I think people should support them. This is happening because we put this person in office and we’re accountable for these actions. If you’re standing in sidelines, you’re part of the problem.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lina Blanco, Claudia Escobar, Sarah Hotchkiss, Kevin L. Jones, Gabe Meline, Nastia Voynovskaya and Kelly Whalen contributed reporting to this story.\u003c/em>\u003c/p>\n\n",
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"excerpt": "After a tumultuous week, Bay Area artists working with immigration issues provide insight and advice.",
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"title": "'It's Horrifying': 11 Bay Area Artists Speak Out on Child Detainment at the Border | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, we learned that the U.S. has \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">separated over 2,300 children from their parents\u003c/a> at the U.S.-Mexico border and placed them in \u003ca href=\"https://twitter.com/DavidBegnaud/status/1008704668816560128\" target=\"_blank\" rel=\"noopener noreferrer\">chain-link cages\u003c/a>, tent camps and other detainment centers. Audio circulated of \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">crying children begging for their moms and dads\u003c/a>, and allegations surfaced of border patrol agents \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/23/613907893/aclu-report-detained-immigrant-children-subjected-to-widespread-abuse-by-officia\" target=\"_blank\" rel=\"noopener noreferrer\">kicking migrant children and threatening them with sexual abuse\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, President Trump reversed course and signed an executive order for “\u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">detaining alien families together\u003c/a>,” stopping his policy of family separations while allowing for indefinite detainment and providing \u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">no plan for reuniting children\u003c/a> already separated from their parents. Those children include a \u003ca href=\"https://www.washingtonpost.com/world/the_americas/international-outrage-grows-over-separating-migrant-children-from-parents/2018/06/19/13d0332e-73cb-11e8-bda1-18e53a448a14_story.html?utm_term=.e66e009751b2\" target=\"_blank\" rel=\"noopener noreferrer\">10-year-old girl with Down syndrome\u003c/a>, and \u003ca href=\"https://www.nytimes.com/2018/06/20/us/tender-age-shelters-family-separation-immigration.html\" target=\"_blank\" rel=\"noopener noreferrer\">“tender age” detainees as young as 12 months old\u003c/a>. The Pentagon has been asked to prepare \u003ca href=\"https://www.kqed.org/news/11676360/military-asked-to-provide-20000-beds-for-detained-immigrant-children\" target=\"_blank\" rel=\"noopener noreferrer\">additional housing for up to 20,000 children\u003c/a>, while thus far, images of detainment camps show only boys. \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">No one knows where the girls are\u003c/a>.\u003c/p>\n\u003cp>Which is to say: if you’re fatigued, you’re \u003ca href=\"https://twitter.com/edyong209/status/1009805404954615808\" target=\"_blank\" rel=\"noopener noreferrer\">not alone\u003c/a>. To get some clarity, catharsis and—yes—comfort on the subject, KQED Arts checked in with 11 different Bay Area artists who work with themes of immigration and detainment. They spend hours pondering borders, laws, family aspirations, deportations, and human rights in their art, music and other creative endeavors.\u003c/p>\n\u003cp>We knew they’d have insight, and advice. We were not wrong. Read below for their input.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg\" alt=\"Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border. \u003ccite>(Michelle Wetzler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Guillermo Galindo\u003c/h2>\n\u003cp>\u003cem>Musician and composer who \u003ca href=\"https://www.kqed.org/arts/11301274/guillermo-galindo-border-cantos-instruments-interview\" target=\"_blank\" rel=\"noopener noreferrer\">builds instruments from objects left behind by migrants along the border\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s been heartbreaking. Especially hearing the children crying in \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">the recording\u003c/a>, it’s unbearable. It’s something that’s impossible to describe, the feeling it gave me. It brings so many images of suffering, and of the past, of history. I’m afraid that history could be repeating itself: we have the memories of the Jewish holocaust, and the indigenous holocaust, things that have happened to immigrants, black people, Japanese people in concentration camps.\u003c/p>\n\u003cp>But this is maybe one of the few times where it’s out in the open, where it’s visible what is happening. In general, as a society, we have become less sensitive to our intuition, and to our spirituality, and to our feelings of human beings. And I don’t know why that’s been happening. Seeing this so much in the open should bother anybody who’s a human being.\u003c/p>\n\u003cp>The thing now is talk to representatives in your government, taking into account that this is an emergency. This is not a joke. Worse and worse things will happen if you don’t talk to your government. Help \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">humanitarian organizations\u003c/a> that are supporting the children and the families. And to the artists: it’s about this, it’s about something that has a meaning. We’re not in a time when we’re supposed to do art about ourselves and nobody else. This is a time when art is supposed to speak the words that politics and religion are not speaking.\u003c/p>\n\u003cfigure id=\"attachment_13835748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg\" alt=\"Flora Ninomiya was taken to a Japanese-American internment camp at age 7.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flora Ninomiya was taken to a Japanese-American internment camp at age 7. \u003ccite>(Courtesy Flora Ninomiya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flora Ninomiya\u003c/h2>\n\u003cp>\u003cem>Survivor of the Granada Relocation Center, a Japanese-American internment camp, knitter, and \u003ca href=\"https://www.eastbaytimes.com/2017/02/10/richmond-japanese-american-incarceration-to-be-focus-of-special-presentation/\" target=\"_blank\" rel=\"noopener noreferrer\">docent at the Rosie the Riveter Museum\u003c/a> in Richmond\u003c/em>\u003c/p>\n\u003cp>I’m appalled that this is happening—that the president is so callous in how he is carrying out his programs. As a Japanese-American whose family was interned, we were powerless too, like those young children. I was 7 years old and I can still remember that long train trip going to this very isolated desert area and living in the barracks that were built by the United States Army. My father was sent to a separate prison camp from my mother and my siblings and I, and my mother was always sending letters to the government asking to release him. My father, it was really painful for him—he felt betrayed and ashamed.\u003c/p>\n\u003cp>During that time, there were people who helped us, the Quakers, our neighbors, but they had to do so quietly, or they would be marginalized. Today, it’s hopeful that we do see so many Americans speaking out against separating families. It took the American public’s pressure to get the president to issue an executive order.\u003c/p>\n\u003cp>I’m going to keep talking about my family’s experience, and to me it’s very important to support other groups that are being targeted by the government.\u003c/p>\n\u003cfigure id=\"attachment_13835747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg\" alt=\"Diana Gameros' songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Gameros’ songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico. \u003ccite>(Claudia Escobar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diana Gameros\u003c/h2>\n\u003cp>\u003cem>Musician and songwriter from Juarez, Mexico, whose recent album, ‘Arrullo,’ \u003ca href=\"https://www.kqed.org/arts/11514186/women-to-watch-diana-gameros\" target=\"_blank\" rel=\"noopener noreferrer\">expresses the immigrant experience\u003c/a>\u003c/em>\u003c/p>\n\u003cp>My first reaction is to think that it is not possible that this is happening, but it is… it’s horrifying. I feel like in the past two years we get less surprised at what happens, and it’s sad that we are not getting surprised. It is alarming.\u003c/p>\n\u003cp>My advice for other artists is first to be informed, to really know what is happening, and reach out to organizations, and let them know that you are available, that you are willing to help. As artists we have such a visible platform that we can reach many people, and we should use those platforms, especially if you are a well known artist.\u003c/p>\n\u003cp>I can’t stop thinking about the children, and how every minute that goes by, they are in pain. I ask myself: what if that would have happened to me? I know the feeling of what it is to leave your homeland behind. I really hope that people know how much bravery is involved in this process, of leaving your home. I have so much admiration for the people who have this courage to leave their homeland, and carry all that sadness, and all that hope. They have so much love, and want the best for their kids, they are being good parents. It is disgusting that we are separating them, when we should be welcoming them.\u003c/p>\n\u003cfigure id=\"attachment_13835750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg\" alt=\"Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-520x351.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caleb Duarte\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist and educator\u003c/a> who leads \u003ca href=\"https://www.kqed.org/arts/13375958/on-being-young-alone-and-crossing-into-the-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">art workshops with undocumented Central American minors\u003c/a> at Fremont High School\u003c/em>\u003c/p>\n\u003cp>It’s the worst kind of nightmare for a parent. That journey is 3,000 miles of hardship. Knowing the back history and the violence these people face, only to reach the United States and have your children taken away by authorities—that is really hard to take in.\u003c/p>\n\u003cp>And social media is unleashing a lot of support for this kind of act. It leads me to reflect on how any country can support these kinds of actions. We need to step back and understand the suffering and fear of those who support these actions.\u003c/p>\n\u003cp>Art in different times has different purposes. At certain moments art is there to shake us up, and sometimes it’s there to gather us back. Right now I think art is there to create logic and reason rather than challenge it. More than anything, it’s important to speak out. We’d be surprised by who, in our immediate circles, our colleagues and family, think differently than us. I’m trying to find ways to have conversations with people who think otherwise.\u003c/p>\n\u003cfigure id=\"attachment_13835778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-800x516.jpg\" alt=\"A detail from the Oakland Museum of California's 'Sent Away' exhibition, showing tools left behind by a man affected by Mexican repatriations in the 1930s.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the Oakland Museum of California’s ‘Sent Away’ exhibition, showing tools left behind in the Mexican repatriations in the 1930s. \u003ccite>(Erendina Delgadillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Erendina Delgadillo\u003c/h2>\n\u003cp>\u003cem>Associate Curator of History at the Oakland Museum of California, host of recent exhibitions on internment, ‘\u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothea Lange: Politics of Seeing\u003c/a>‘ and ‘\u003ca href=\"http://museumca.org/blog/sent-away-not-forgotten\" target=\"_blank\" rel=\"noopener noreferrer\">Sent Away\u003c/a>‘\u003c/em>\u003c/p>\n\u003cp>It’s been pretty horrifying. But one thing we know is family separations have happened before—with Native Americans, with Japanese families, or with Mexican repatriation in the 1930s. With the recent ‘Sent Away’ installation in our permanent history gallery, we’ve been paying attention to whether the visitors really understand, and if it’s properly conveying the trajectory of racialized communities in moments of political and social stress. In my social media circles, I see people saying, “This is insane! This is not America! This is not who we are!” And I wrestle with it, because the fact is that this has happened before.\u003c/p>\n\u003cp>In the deportations in the ’30s, people were responding to the depression. But the Mexican people deported were not relying on welfare as much as others thought they were. And today, when you hear that they’re causing unprecedented crime, or taking away jobs from “real” Americans, being a drain on the system—that’s not true, but turning them into a specter of those problems is easier than fixing the problem. It’s been very disheartening looking at the pattern of how easily people can be manipulated in very simple ways. You take a feeling, you blow it up, and it obscures the need to delve into really complex issues.\u003c/p>\n\u003cp>It’s a terrible moment. It’s too easy to despair. You’re only shooting yourself by despairing before the fight starts, so donate to organizations, and find those small moments to realize why humanity is valuable, and why we fight for humanity. Remind yourself why life is good.\u003c/p>\n\u003cfigure id=\"attachment_13835737\" class=\"wp-caption aligncenter\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg\" alt=\"Ani Rivera, bottom right, with Galería de la Raza'a curatorial staff in 2016.\" width=\"758\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-520x292.jpg 520w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">Ani Rivera, bottom right, with Galería de la Raza’a curatorial staff in 2016. \u003ccite>(Creo Noveno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ani Rivera\u003c/h2>\n\u003cp>\u003cem>Executive Director for \u003ca href=\"https://kqed.org/arts/tag/galeria-de-la-raza\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de La Raza\u003c/a> in the Mission District, hub for San Francisco’s Latino artist community\u003c/em>\u003c/p>\n\u003cp>It’s just appalling to see how the administration doesn’t value humanity, nor the families that are coming here searching for a better life. They’re being used as pawns to push an agenda. I think our work is not done yet. We need to keep demanding that they close the detention centers. I think that’s where we want to focus: ending the criminalization. We need to stop all profits made from keeping people in cages.\u003c/p>\n\u003cp>We’re definitely contributing to the organized marches and protests being planned for June 30. We will also be at this Friday’s rally in Embarcadero Plaza. We know that art plays a role in creating dialogue and engaging hearts, and we’ll be holding a series of screen-printing demonstrations at these events.\u003c/p>\n\u003cp>The legacy of Galería and René (Yañez, the gallery’s co-founder) and all of the individuals that have contributed and created this space was to address these issues. This is history repeating itself. We’ve been dealing with the criminalization of immigrants for decades. The goal of Galería as an institution is to be a platform for artists to organize. The founders needed to create a community that allowed and provided a path for self-determination. They expect us to be out there.\u003c/p>\n\u003cfigure id=\"attachment_13835744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg\" alt=\"A still from 'Rabbit in the Moon' showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Rabbit in the Moon’ showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona. \u003ccite>(Courtesy Chizu Omori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chizu Omori\u003c/h2>\n\u003cp>\u003cem>Bay Area journalist and co-producer of the documentary ‘Rabbit in the Moon’ who, in 1942 at the age of 12, \u003ca href=\"https://caamedia.org/blog/2017/02/16/emiko-and-chizu-omori-on-lessons-from-wwii-incarceration/\" target=\"_blank\" rel=\"noopener noreferrer\">was sent with her sister Emiko Omori and their family to the Poston War Relocation Center\u003c/a> in Arizona \u003c/em>\u003c/p>\n\u003cp>The fact that they would implement this policy is so inhumane. There’s a great deal of interest now in what happened to us during WWII to us Japanese Americans. A precedent was set when Roosevelt issued EO 9066, and even though it’s been condemned as a big mistake, that precedent has been used by the Trump administration to justify some of the things they’ve been doing. So of course, I feel an obligation to speak out against what’s happening as something very reminiscent of what happened to us 75 years ago.\u003c/p>\n\u003cp>It’s happened with the travel ban against Muslims, and this general discrimination against people of Muslim faith or people from the Middle East in general. It’s part of the current of racism that’s been part of our history from the very beginning, directed towards people of color. Now it’s against people from Central and South America who are not white people. It’s a language that our president uses to reemphasize this bias against people of color. He refers to us as infestations, or awful characterizations like rapists and murderers. It’s dehumanizing for him to be using this language.\u003c/p>\n\u003cp>Children being separated from their parents at the border is something that I don’t think any of us had contemplated. To take infants… what’s the purpose in doing this? There’s no rationale for it. If you’re going to ask people to stand up and be counted, how many people are for this? Why do they justify doing this thing?\u003c/p>\n\u003cp>I belong to a group called Nikkei Resisters. Our slogan is “Never Again.” Detention and internment are really un-American and we need to speak out and say “It happened to us. And we don’t want to see it happening again.”\u003c/p>\n\u003cfigure id=\"attachment_13835738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835738\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg\" alt=\"Brian Moss teaches a student population that's 85-percent Latino; 'their fear has been validated,' he says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Moss teaches a student population that’s 85-percent Latino; ‘their fear has been validated,’ he says. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brian Moss\u003c/h2>\n\u003cp>\u003cem>San Francisco songwriter (Hanalei, Great Apes) and schoolteacher who \u003ca href=\"https://hanalei.bandcamp.com/track/cross-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">released the song “Cross Crossing”\u003c/a> this week in reaction to abuses at the border\u003c/em>\u003c/p>\n\u003cp>Separating families and children seems so immoral and deplorable, it’s shocking, but with this presidency and this administration the bar has been so low it didn’t completely catch me off-guard. And being a teacher, and given the population of my school, which is 85-percent Latino, it’s something I’ve seen the effects of the whole time. For many of my students, the fear they were already facing rose drastically when he was elected, and now that fear has been validated. It’s happening to them. It’s disturbing and hard to witness.\u003c/p>\n\u003cp>The issue of separating families is so immoral to me that some sort of response, either though song, or \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>, or protesting, or going down there volunteering with an organization that’s trying to provide legal aid—anything you can do is a start.\u003c/p>\n\u003cfigure id=\"attachment_13835800\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835800\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg\" alt=\"Naima Shalhoub: 'we must cry out with each other through our art, together, to respond to this madness.'\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naima Shalhoub: ‘we must cry out with each other through our art, together, to respond to this madness.’ \u003ccite>(Sarah Deragon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Naima Shalhoub\u003c/h2>\n\u003cp>\u003cem>Oakland songwriter whose song “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">Borderlands\u003c/a>” tells of “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">a constructed order of things that decides what and who is more valuable\u003c/a>”\u003c/em>\u003c/p>\n\u003cp>What strikes me the most is how conditioned we are becoming to see people through the lenses of our fear, our politics, our scarcity mindsets rather than insisting that all people under the sun are treated with dignity and love. We are forgetting that we have the power to create systems that reflect justice and love, not fear and confinement. We are becoming dismembered from any semblance of connection to land, to spirit, to honor, to respect and instead bowing down to new gods of greed, patriarchy, racism—so much so that a child’s cry does not waken the heart to compassion. Or at least, this is my worry. For our souls, collectively.\u003c/p>\n\u003cp>What is happening is a reflection of what has been buried under the soil of what is now called the United States. The sorrow, the unheard cries, and histories ghosts are truly rising until we all wake to its truth. We must do better by committing to our collective memory—all of it—and holding accountable the leaders who do not. The privilege of forgetting becomes manifest in institutions that create walls separating families, unable to share with the public where our girls and babies are. This is about our responsibility to our children’s future and their safety and dignity by allowing the past to speak.\u003c/p>\n\u003cp>If Nina Simone’s call to action was “it is an artist’s duty to reflect the times,” then we must cry out with each other through our art, together, to respond to this madness.\u003c/p>\n\u003cfigure id=\"attachment_13835934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg\" alt=\"'Horizons,' by Najib Joe Hakim.\" width=\"800\" height=\"179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-160x36.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-768x172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-1020x228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-960x215.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-240x54.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-375x84.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-520x116.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Horizons,’ by Najib Joe Hakim. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Najib Joe Hakim\u003c/h2>\n\u003cp>\u003cem>San Francisco photographer and YBCA fellow whose current project, ‘\u003ca href=\"https://electronicintifada.net/content/palestinian-america-najib-joe-hakims-home-away-home/14073\" target=\"_blank\" rel=\"noopener noreferrer\">Home Away From Home\u003c/a>,’ pairs oral histories of 26 Bay Area Palestinian Americans with their portraits\u003c/em>\u003c/p>\n\u003cp>My own family immigrated to the U.S. in the 1950s from Lebanon. Except for the details, ours is a very common story, which most Americans share. Refugees out of Palestine, my parents then left Beirut on a ship with two very young kids and $5 in their pocket. In the coming years, through hard work, education and uncountable sacrifices, we became thriving American citizens.\u003c/p>\n\u003cp>I hate to think what might have become of us had we not snared four of only 100 immigration visas. Would I be staring down a machine gun barrel held by a 20-year-old Israeli soldier? Would we have been caught up in one of the many massacres of the 20-year Lebanese Civil War? Would my kids now be desperately trying to leave Syria on a dinghy with their own children?\u003c/p>\n\u003cp>What I see happening today to immigrant families is the writing of yet another chapter of American history in which the country’s values do not line up with its reality. When people say “I don’t recognize this country anymore,” they are expressing the profound contradictions between what we’ve all been taught about this country and what we see being done in our name.\u003c/p>\n\u003cp>We live in a new dark age in which civilian lives are dehumanized; science and nature are scoffed at; and atavistic fears send us scurrying toward our basest natures. In such times, we artists are challenged to help remind us of our loftier, sacred and shared aspirations.\u003c/p>\n\u003cfigure id=\"attachment_13835745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835745\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg\" alt=\"Yosimar Reyes: 'If you’re standing in sidelines, you’re part of the problem.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes: ‘If you’re standing in sidelines, you’re part of the problem.’ \u003ccite>(Courtesy Yosimar Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yosimar Reyes\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://yosimarreyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poet, educator, and founder of La Maricolectiva\u003c/a>, a community based performance group of queer undocumented poets\u003c/em>\u003c/p>\n\u003cp>This week has been a lot. I think it’s great that it’s getting national visibility and a lot of people are learning about these atrocities—I think it’s a really positive thing. People are blatantly stating that we need to abolish immigrant prisons. But for me, it’s more like, it’s always been like this so I’m not surprised. I’m just glad people are realizing the reality of how it is and people are mobilizing and opening their eyes to the fact that this is how it’s been for a lot of folks.\u003c/p>\n\u003cp>With immigration, everything moves so fast and it escalates after a short amount of time. I’m curious to see how it’s going to influence a lot of the writing that I’m doing, but I’m still processing. Organizations on the ground in Texas are doing really good work, they’re giving people legal aid, and I think people should support them. This is happening because we put this person in office and we’re accountable for these actions. If you’re standing in sidelines, you’re part of the problem.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"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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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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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": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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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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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"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",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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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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"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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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"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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