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"content": "\u003cp>Hours after Bay Area Rapid Transit police officer Johannes Mehserle shot and killed Oscar Grant on the platform of Fruitvale Station on Jan. 1, 2009, Bay Area street artists sprang into action. An Alameda printmaker named \u003ca href=\"http://www.gridlock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon-Paul Bail\u003c/a> churned out hundreds of “\u003ca href=\"https://nickcernak.com/wp-content/uploads/2017/05/20090205-political-gridlock-bart-283x400.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Disarm BART Police\u003c/a>” posters to hand out at demonstrations. An artist going by \u003ca href=\"https://endlesscanvas.com/?tag=justice-for-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Broke\u003c/a> printed “Justice for Oscar Grant” posters with stylized graffiti font. Designer \u003ca href=\"https://nickcernak.com/wp-content/uploads/2017/06/200903023-frank-zio-bloody-bart-258x400.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Frank Zio\u003c/a> depicted a BART ticket with a bloody fingerprint.\u003c/p>\n\u003cp>Meanwhile, a cellphone video of the killing went viral on YouTube and social media, galvanizing hundreds of demonstrators who faced off against police in riot gear in downtown Oakland. As they marched, they hoisted signs with Bail, Zio and Broke’s artwork, plus posters by Oakland artists such as \u003ca href=\"http://endlesscanvas.com/?tag=gats\" target=\"_blank\" rel=\"noopener noreferrer\">GATS\u003c/a> and Melanie Cervantes and Jesus Barraza of \u003ca href=\"https://dignidadrebelde.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>.\u003c/p>\n\u003cp>“Everyone was using everyone else’s images freely,” says Bail, who’s made political posters since the ’80s under the name \u003ca href=\"http://www.gridlock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Political Gridlock\u003c/a>. “There was no, ‘This is my image, this is your image.’ No one cared, we just made the art and donated it. Give them posters, go to the rallies.”\u003c/p>\n\u003cp>As helicopters loomed overhead, the images made their way from people’s hands onto city walls and shop windows—a constant reminder of Oakland’s civil unrest—amplifying demonstrators’ calls for accountability as news cameras captured their clashes with police.\u003c/p>\n\u003cp>Those confrontational tactics worked: with public pressure mounting, the Alameda County district attorney charged Mehserle with murder on Jan. 14, 2009, a statistical anomaly for an officer-involved shooting. With Mehserle in custody, a millennial uprising against police brutality began to form in Oakland a full five years before Black Lives Matter became a national rallying cry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Following in the footsteps of Tupac Shakur and the Black Panthers’ Emory Douglas, Oakland artists such as rapper Mistah F.A.B., rapper-turned-filmmaker Boots Riley, and \u003cem>Fruitvale Station\u003c/em> director Ryan Coogler lent their skills to the movement, and they brought followings of newly politicized young people with them. Ten years after Oscar Grant’s death, some of these artists have made a major impact on American pop culture, while others are still doing on-the-ground work in Oakland. All of them catalyzed a new generation of activists who rallied the nation against racial injustice and shifted American consciousness over the past decade.\u003c/p>\n\u003cfigure id=\"attachment_13847780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847780\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_0781-800x533.jpg\" alt=\"A Justice for Oscar Grant poster by street artist Broke. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Justice for Oscar Grant poster by street artist Broke. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I would say for those of us who created Black Lives Matter, it really does start with Oscar Grant as our Rodney King moment—where the violence our communities experience every day was actually captured on video and circulated around the world,” says Black Lives Matter co-founder Alicia Garza.\u003c/p>\n\u003cp>“I think what Mistah F.A.B. and other artists were able to do is speak to folks who are not part of coalitions, who are not part of organizations … and allow them to be a part of the change that needs to happen,” Garza says. “Talking about the role that police violence plays in communities every day is a big part of how people are being reached and being told, ‘You’re not alone,’ one, and, two, ‘You can do something about it.'”\u003c/p>\n\u003ch2>Artists become community organizers\u003c/h2>\n\u003cp>As street artists handed out posters in the weeks after Grant’s death, the Bay Area’s rap scene mobilized to create a soundtrack for the protests. Mistah F.A.B., a central figure of the 2000s hyphy movement, recorded and released “\u003ca href=\"https://mistahfab.bandcamp.com/album/oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">My Life (Oscar Grant)\u003c/a>” the day of the shooting. On the track, he drew attention to an ongoing pattern of police brutality against the black community, which he says mainstream society mostly ignored until it was captured on camera. “See, I’m from a city, man / Where police brutality ain’t nothin’ new to us, man / It’s another Oscar Grant that happens every day,” he rapped.\u003c/p>\n\u003cp>Oscar Grant hadn’t yet become a national news story on Jan. 1, 2009, but Mistah F.A.B. knew he had fans he could reach all over the country through MySpace, Bandcamp and YouTube. That month, he wore an Oscar Grant T-shirt for a TV appearance on BET. “I think expressing what was going on in the city through art was very important because there were individuals who hadn’t heard about the atrocities outside of our area,” he tells me in a recent interview.\u003c/p>\n\u003cfigure id=\"attachment_12997915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-800x450.jpg\" alt=\"Mistah F.A.B.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For artists, rappers, singers, directors—it definitely lit a fire under the people and let them know, we have to address these things,” Mistah F.A.B. says. \u003c/span>\u003c/p>\n\u003cp>Other Bay Area rappers, including \u003ca href=\"https://www.youtube.com/watch?v=8fWeMeqinIE\" target=\"_blank\" rel=\"noopener noreferrer\">J Stalin and Beeda Weeda\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=xQFajNZMxM8\" target=\"_blank\" rel=\"noopener noreferrer\">Zumbi of Zion I\u003c/a> and \u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">Young Gully\u003c/a>, recorded their own protest songs and homages to Grant. And music wasn’t the only way they took action: F.A.B. and \u003cem>Sorry to Bother You\u003c/em> director Boots Riley, then known as a rapper in The Coup, were on the front lines at Oakland City Hall in the days after the shooting to organize outraged Oaklanders.\u003c/p>\n\u003cp>Protests continued throughout 2009 and 2010 as Mehserle’s trial unfolded. In July 2010, a jury convicted the former police officer of involuntary manslaughter. He served 11 months of his two-year sentence, prompting more protests upon his early release in June 2011.\u003c/p>\n\u003cp>That same year, a new movement percolated in New York City: Occupy Wall Street, a protest against corporate interests and wealth inequality. As Occupy protests took root across the country, the center of the action in Oakland was Frank Ogawa Plaza at City Hall, which activists dubbed Oscar Grant Plaza. Following the unofficial name change, calling out racism in the criminal justice system became a core tenet of Occupy Oakland even as the national movement emphasized economics.\u003c/p>\n\u003cp>Many key people from the Oscar Grant protests showed up. Boots Riley \u003ca href=\"http://www.look2remember.com/2011/12/11/boots-riley-at-occupy-oakland-general-strike/\" target=\"_blank\" rel=\"noopener noreferrer\">led direct actions\u003c/a> as police encroached on the Occupy encampment; Mistah F.A.B. delivered speeches on the City Hall steps alongside Nation of Islam leaders and members of Oscar Grant’s family.\u003c/p>\n\u003cp>https://youtu.be/Xym-xl8zLNw\u003c/p>\n\u003cp>Jon-Paul Bail and fellow street artist \u003ca href=\"https://www.instagram.com/rebelstilskin/\" target=\"_blank\" rel=\"noopener noreferrer\">Kalleb Arefaine\u003c/a> arrived to screenprint thousands of posters on site, handing them directly to demonstrators. Graffiti artists, including \u003ca href=\"http://endlesscanvas.com/?p=5004\" target=\"_blank\" rel=\"noopener noreferrer\">Eesuu\u003c/a> and \u003ca href=\"http://endlesscanvas.com/?p=4940\" target=\"_blank\" rel=\"noopener noreferrer\">Optimist\u003c/a>, joined the cause, covering the city with “Justice for Oscar Grant” posters and tags. Oscar Grant murals and wheatpasted posters showed up all over town as protesters camped out in front of City Hall.\u003c/p>\n\u003cp>“When the news and everyone was complaining about the graffiti,” recalls Arefaine, “it broadcasted the message even more.”\u003c/p>\n\u003ch2>Grant’s family enlists artists’ help\u003c/h2>\n\u003cp>During the height of Occupy Oakland, Oscar Grant’s uncle Cephus Johnson, known to many as Uncle Bobby, saw Bail screenprinting at a protest and approached him to collaborate on a new design for a vigil he’d planned for the third anniversary of Grant’s death on Jan. 1, 2012. This time, Bail enlisted another artist, \u003ca href=\"http://cargocollective.com/2amisthetime/filter/2amart/About\" target=\"_blank\" rel=\"noopener noreferrer\">Aambr Newsome a.k.a. 2AM\u003c/a>, who was a Berkeley City College student at the time. Newsome and Bail drew a stylized portrait of a smiling Oscar Grant, illuminated by sunshine with protest signs in the background.\u003c/p>\n\u003cp>Newsome recalls how Oscar Grant’s murder awakened her to the reality of police violence against black communities in America. She felt a sense of duty to lend her illustration skills to the cause. “For me, it was really important providing assistance to those families who feel like they don’t have a voice, that nobody is listening, and to really give them something to march with,” she says. “I think that makes them louder. It makes them a bit more proud so they feel like they have supporters backing them.”\u003c/p>\n\u003cfigure id=\"attachment_13847781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847781\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_0786-800x533.jpg\" alt=\"Kalleb Arefaine and Jon-Paul Bail printed thousands of anti-police brutality posters over the past decade. Bail (right) holds a poster he created with Aambr Newsom in 2012.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kalleb Arefaine and Jon-Paul Bail printed thousands of anti-police brutality posters over the past decade. Bail (right) holds a poster he created with Aambr Newsom in 2012. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson, who assumed the role of family spokesperson after founding the \u003ca href=\"http://www.lovenotbloodcampaign.com\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant Foundation\u003c/a> in 2010, collaborated with numerous artists in the wake of Grant’s death. Johnson’s voice appears on rapper Young Gully’s album \u003cem>\u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">The Grant Station Project\u003c/a> \u003c/em>on the heartfelt final track, “Letter to Grant,” where Gully raps from the perspective of Grant in heaven. (KQED’s Pendarvis Harshaw was an executive producer on the album.)\u003c/p>\n\u003cp>Young Gully recalls how Johnson was skeptical of his intentions until he heard “Letter to Grant” being recorded in the studio. “When Uncle Bobby heard that, he cried. That one song is what allowed me to put that album out,” Gully says. “After that, he saw what my angle was. We built this big relationship, and basically he loved me for that.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3032191159/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For Johnson, working with artists was crucial for drawing attention to injustice, and especially getting young people on board with the fight against police brutality. “Artistry from muralists, hip-hop artists—and artists period, whether they be spoken-word artists, portraitists—they all shared their gifts when it came time to talk about Oscar Grant and speak about the social ills of the system concerning police violence, state-sponsored violence,” he says. “It was young people speaking to young people, and us elders heard their call and responded.”\u003c/p>\n\u003ch2>The movement hits the big screen\u003c/h2>\n\u003cp>The “Justice for Oscar Grant” poster Newsome and Bail created with Johnson’s blessing ended up in \u003cem>Black Panther\u003c/em> director Ryan Coogler’s debut feature film, \u003cem>Fruitvale Station\u003c/em>, about the final 24 hours of Oscar Grant’s life.\u003c/p>\n\u003cp>Coogler, an Oakland native who was only a year older than Grant at the time of the killing, painted a portrait of Grant as an imperfect but loving young father attempting to get his life on track after a stint behind bars. The humanizing portrayal was crucial to the developing national conversation about racial injustice, which only grew more tense after the high-profile shooting of Trayvon Martin in 2012.\u003c/p>\n\u003cp>By the time \u003cem>Fruitvale Station\u003c/em> hit theaters in 2013, Oscar Grant had become a martyr, a symbol and a hashtag after four years of protests in his name. But \u003cem>Fruitvale Station\u003c/em> brought the focus back on Grant as a regular, working-class young man finding his way. At a time when news media regularly vilified victims of police brutality—for example, \u003ca href=\"https://www.theatlantic.com/politics/archive/2012/03/what-did-trayvon-look-depends-your-politics/329893/\" target=\"_blank\" rel=\"noopener noreferrer\">the fixation\u003c/a> on photos of Trayvon Martin showing his middle finger—this was essential.\u003c/p>\n\u003cp>https://youtu.be/crMTGCCui5c\u003c/p>\n\u003cp>“[Oscar] has to deal with his baby mama; he has to deal with money; he has to figure out what to do with this dog; his job has some stress,” says Carvell Wallace, an Oakland-based critic who has \u003ca href=\"https://www.nytimes.com/2018/02/12/magazine/why-black-panther-is-a-defining-moment-for-black-america.html\" target=\"_blank\" rel=\"noopener noreferrer\">covered Coogler’s work\u003c/a> for \u003cem>The New York Times\u003c/em>. “The way [Coogler] takes us through this allows us to relate to those things so we see him as a person. I think it’s important to see someone as a person before they become a hashtag, and that’s what the movements are always fighting for. And that’s an uphill battle.”\u003c/p>\n\u003cp>With a wide release in theaters across the country, \u003cem>Fruitvale Station\u003c/em> was essential for building empathy among non-black Americans who didn’t have personal experience with police brutality and racial injustice, and who might have felt threatened by the protests they saw on the news without understanding the underlying cause. “I think what Coogler did with that film was show Oscar Grant not as a ‘them’ but as a ‘you,'” says Wallace.\u003c/p>\n\u003cp>April Reign, a diversity advocate who coined the #OscarsSoWhite hashtag in response to a lack of black artists at the Academy Awards, says that \u003cem>Fruitvale Station\u003c/em> served another purpose: it emphasized the importance of documenting injustice with smartphones, which was instrumental to the Black Lives Matter movement as it took off nationally in 2013.\u003c/p>\n\u003cp>“The movie \u003cem>Fruitvale Station\u003c/em> was incredibly underrated and really brought to the forefront some of the issues that people had been fighting for years,” says Reign. “Not just talking about the issues of state-sanctioned violence, but also the question of filming the police, and how taking a stand in that way has the potential to make a difference when cops are involved in violence against American citizens, especially black men.”\u003c/p>\n\u003ch2>Black Lives Matter on the world stage\u003c/h2>\n\u003cp>The Bay Area artists politicized during the Oscar Grant protests found a new calling with the Black Lives Matter movement, a rallying cry against systemic racism after the high-profile killings of Martin, Mike Brown and Eric Garner.\u003c/p>\n\u003cp>Oakland artist \u003ca href=\"http://www.oreeoriginol.com/justiceforourlives.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oree Original\u003c/a> created dozens of downloadable portraits of victims of police brutality that Black Lives Matter activists carried at marches nationwide. And \u003ca href=\"http://chinakahodge.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinaka Hodge\u003c/a>, a star of the Bay Area’s literary scene, debuted her critically acclaimed play \u003cem>Chasing Mehserle\u003c/em>, which toured the country after its local premiere in 2014.\u003c/p>\n\u003cfigure id=\"attachment_12624168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12624168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/oreeportrait-800x450.jpg\" alt=\"Artist Oree Originol\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Oree Originol with posters from his ‘Justice for Our Lives’ project. \u003ccite>(Manjula Varghese)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Lives Matter protests continued into 2016, following the deaths of Sandra Bland in Texas, Philando Castile in Minnesota and Alton Sterling in Louisiana. The movement entered the pop culture zeitgeist: Beyoncé brought Grant’s mother, Reverend Wanda Johnson, and the mothers of Brown, Martin and Garner to the \u003ca href=\"https://www.independent.co.uk/news/beyonce-brings-mothers-of-eric-garner-trayvon-martin-mike-brown-and-oscar-grant-to-vmas-2016-a7214741.html\" target=\"_blank\" rel=\"noopener noreferrer\">2016 VMAs\u003c/a>. Colin Kaepernick, whose kneeling protest against police brutality received support from Grant’s family, continues to be the biggest topic of conversation in the NFL.\u003c/p>\n\u003cp>Chart-topping artists like Migos and Young Thug mentioned victims of police violence in their songs; Kendrick Lamar made history at the \u003ca href=\"https://www.rollingstone.com/music/music-news/grammys-2016-king-kendrick-lamar-steals-the-show-178882/\" target=\"_blank\" rel=\"noopener noreferrer\">2016 Grammy Awards\u003c/a> with a performance that called out racism in the criminal justice system. Drawing from a long history of African-American protest art, the wave of artists demanding justice for Grant ushered in an era of creatives and entertainers speaking out against police brutality, and using social media to amplify the conversation.\u003c/p>\n\u003cp>“Artistry spring-boarded the Oscar Grant movement,” says Johnson, Grant’s uncle. “So today, when we see young men getting killed, there are forms of artistry that come into play… It’s carried on ever since.”\u003c/p>\n\u003cp>Ryan Coogler and Boots Riley kicked off a huge year for black cinema with the successes of their 2018 films \u003cem>Black Panther \u003c/em>and \u003cem>Sorry to Bother You\u003c/em>, and other critically acclaimed films from that year addressed police brutality directly. Director George Tillman Jr. based his movie about the aftermath of a police shooting, \u003cem>\u003ca href=\"https://www.latimes.com/entertainment/movies/la-ca-mn-sneaks-hate-u-give-20180830-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Hate U Give\u003c/a>, \u003c/em>on a young-adult novel by Angie Thomas, who began writing it after watching cellphone footage of Oscar Grant’s death. Similarly, \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal, both from Oakland, wrote the screenplay for\u003cem> Blindspotting\u003c/em>—about a man reeling from PTSD after witnessing a police shooting—in the aftermath of the Oscar Grant shooting.\u003c/p>\n\u003cp>“We were trying to match the nature of the national conversation about these kinds of killings,” Diggs \u003ca href=\"https://www.kqed.org/arts/13837184/blindspotting-is-a-spot-on-portrait-of-an-oakland-in-flux\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> KQED in a July 2018 interview about the film. “When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003ch2>Culture shifts, legislation stagnates\u003c/h2>\n\u003cp>Although the many examples of art to emerge from the fight against police brutality have shifted American consciousness and changed the culture, policy has been slow to catch up. California passed a law creating \u003ca href=\"https://www.aclusocal.org/en/press-releases/california-passes-landmark-police-transparency-and-accountability-legislation\" target=\"_blank\" rel=\"noopener noreferrer\">greater transparency in police misconduct cases\u003c/a> in 2018, but no sweeping state or federal reforms have taken place, especially regarding disciplining officers who abuse their authority. \u003ca href=\"https://www.washingtonpost.com/graphics/2018/national/police-shootings-2018/?utm_term=.a11ef20c2f4b\" target=\"_blank\" rel=\"noopener noreferrer\">Recent studies\u003c/a> estimate that police kill nearly 1,000 people a year in the United States, but \u003ca href=\"https://www.cnn.com/2017/05/18/us/police-involved-shooting-cases/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">only 80 officers\u003c/a> were arrested on murder or manslaughter chargers for on-duty shootings between 2005 and 2017. Of those, only 35 percent were convicted.\u003c/p>\n\u003cp>Oaklanders voted to replace an inefficient Citizens’ Police Review Board in 2016 with the Oakland Police Commission, which has more power to investigate and discipline officers accused of misconduct. But the board’s first year was marred by turmoil and leadership changes, with one commissioner calling it a “squandered opportunity” in her \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/11/29/oakland-police-commissioner-resigns-calling-the-oversight-boards-first-year-a-squandered-opportunity\" target=\"_blank\" rel=\"noopener noreferrer\">resignation letter in November 2018\u003c/a>.\u003c/p>\n\u003cp>With Donald Trump in office, police brutality is no longer a central focus for many non-black Americans as the administration enacts policies that undermine many other populations’ civil liberties. The lack of tangible progress feels deflating to some, but the fight against systemic racism started long before Oscar Grant—and will continue long after.\u003c/p>\n\u003cp>“The system hasn’t changed, and policing hasn’t become more transparent than it was before. It’s just more visible,” says Black Lives Matter’s Garza. “Black people are still being murdered.”\u003c/p>\n\u003cp>https://youtu.be/gRJboyRHfYo\u003c/p>\n\u003cp>For many of the artists who mobilized against police brutality ten years ago, the pain of Grant’s death and the fraught state of race relations in America are still front-of-mind. \u003ca href=\"https://www.kqed.org/news/11710770/honoring-oscar-grant-gets-political-at-bart-meeting\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, a street artist involved in the movement since at least 2009, is currently painting a new mural honoring Grant at Fruitvale BART station. Mistah F.A.B. recently filmed a music video at Fruitvale station for his new song “War Vibes,” where he raps face down on the platform—the position Grant found himself in during his last moments.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s unfortunate that these kids are being killed and stripped of their lives and their innocence,” Mistah F.A.B. says. “It’s not even safe outside. A trip to the store could end in you being beat up or shot by the police.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hours after Bay Area Rapid Transit police officer Johannes Mehserle shot and killed Oscar Grant on the platform of Fruitvale Station on Jan. 1, 2009, Bay Area street artists sprang into action. An Alameda printmaker named \u003ca href=\"http://www.gridlock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon-Paul Bail\u003c/a> churned out hundreds of “\u003ca href=\"https://nickcernak.com/wp-content/uploads/2017/05/20090205-political-gridlock-bart-283x400.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Disarm BART Police\u003c/a>” posters to hand out at demonstrations. An artist going by \u003ca href=\"https://endlesscanvas.com/?tag=justice-for-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Broke\u003c/a> printed “Justice for Oscar Grant” posters with stylized graffiti font. Designer \u003ca href=\"https://nickcernak.com/wp-content/uploads/2017/06/200903023-frank-zio-bloody-bart-258x400.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Frank Zio\u003c/a> depicted a BART ticket with a bloody fingerprint.\u003c/p>\n\u003cp>Meanwhile, a cellphone video of the killing went viral on YouTube and social media, galvanizing hundreds of demonstrators who faced off against police in riot gear in downtown Oakland. As they marched, they hoisted signs with Bail, Zio and Broke’s artwork, plus posters by Oakland artists such as \u003ca href=\"http://endlesscanvas.com/?tag=gats\" target=\"_blank\" rel=\"noopener noreferrer\">GATS\u003c/a> and Melanie Cervantes and Jesus Barraza of \u003ca href=\"https://dignidadrebelde.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>.\u003c/p>\n\u003cp>“Everyone was using everyone else’s images freely,” says Bail, who’s made political posters since the ’80s under the name \u003ca href=\"http://www.gridlock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Political Gridlock\u003c/a>. “There was no, ‘This is my image, this is your image.’ No one cared, we just made the art and donated it. Give them posters, go to the rallies.”\u003c/p>\n\u003cp>As helicopters loomed overhead, the images made their way from people’s hands onto city walls and shop windows—a constant reminder of Oakland’s civil unrest—amplifying demonstrators’ calls for accountability as news cameras captured their clashes with police.\u003c/p>\n\u003cp>Those confrontational tactics worked: with public pressure mounting, the Alameda County district attorney charged Mehserle with murder on Jan. 14, 2009, a statistical anomaly for an officer-involved shooting. With Mehserle in custody, a millennial uprising against police brutality began to form in Oakland a full five years before Black Lives Matter became a national rallying cry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Following in the footsteps of Tupac Shakur and the Black Panthers’ Emory Douglas, Oakland artists such as rapper Mistah F.A.B., rapper-turned-filmmaker Boots Riley, and \u003cem>Fruitvale Station\u003c/em> director Ryan Coogler lent their skills to the movement, and they brought followings of newly politicized young people with them. Ten years after Oscar Grant’s death, some of these artists have made a major impact on American pop culture, while others are still doing on-the-ground work in Oakland. All of them catalyzed a new generation of activists who rallied the nation against racial injustice and shifted American consciousness over the past decade.\u003c/p>\n\u003cfigure id=\"attachment_13847780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847780\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_0781-800x533.jpg\" alt=\"A Justice for Oscar Grant poster by street artist Broke. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Justice for Oscar Grant poster by street artist Broke. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I would say for those of us who created Black Lives Matter, it really does start with Oscar Grant as our Rodney King moment—where the violence our communities experience every day was actually captured on video and circulated around the world,” says Black Lives Matter co-founder Alicia Garza.\u003c/p>\n\u003cp>“I think what Mistah F.A.B. and other artists were able to do is speak to folks who are not part of coalitions, who are not part of organizations … and allow them to be a part of the change that needs to happen,” Garza says. “Talking about the role that police violence plays in communities every day is a big part of how people are being reached and being told, ‘You’re not alone,’ one, and, two, ‘You can do something about it.'”\u003c/p>\n\u003ch2>Artists become community organizers\u003c/h2>\n\u003cp>As street artists handed out posters in the weeks after Grant’s death, the Bay Area’s rap scene mobilized to create a soundtrack for the protests. Mistah F.A.B., a central figure of the 2000s hyphy movement, recorded and released “\u003ca href=\"https://mistahfab.bandcamp.com/album/oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">My Life (Oscar Grant)\u003c/a>” the day of the shooting. On the track, he drew attention to an ongoing pattern of police brutality against the black community, which he says mainstream society mostly ignored until it was captured on camera. “See, I’m from a city, man / Where police brutality ain’t nothin’ new to us, man / It’s another Oscar Grant that happens every day,” he rapped.\u003c/p>\n\u003cp>Oscar Grant hadn’t yet become a national news story on Jan. 1, 2009, but Mistah F.A.B. knew he had fans he could reach all over the country through MySpace, Bandcamp and YouTube. That month, he wore an Oscar Grant T-shirt for a TV appearance on BET. “I think expressing what was going on in the city through art was very important because there were individuals who hadn’t heard about the atrocities outside of our area,” he tells me in a recent interview.\u003c/p>\n\u003cfigure id=\"attachment_12997915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-800x450.jpg\" alt=\"Mistah F.A.B.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For artists, rappers, singers, directors—it definitely lit a fire under the people and let them know, we have to address these things,” Mistah F.A.B. says. \u003c/span>\u003c/p>\n\u003cp>Other Bay Area rappers, including \u003ca href=\"https://www.youtube.com/watch?v=8fWeMeqinIE\" target=\"_blank\" rel=\"noopener noreferrer\">J Stalin and Beeda Weeda\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=xQFajNZMxM8\" target=\"_blank\" rel=\"noopener noreferrer\">Zumbi of Zion I\u003c/a> and \u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">Young Gully\u003c/a>, recorded their own protest songs and homages to Grant. And music wasn’t the only way they took action: F.A.B. and \u003cem>Sorry to Bother You\u003c/em> director Boots Riley, then known as a rapper in The Coup, were on the front lines at Oakland City Hall in the days after the shooting to organize outraged Oaklanders.\u003c/p>\n\u003cp>Protests continued throughout 2009 and 2010 as Mehserle’s trial unfolded. In July 2010, a jury convicted the former police officer of involuntary manslaughter. He served 11 months of his two-year sentence, prompting more protests upon his early release in June 2011.\u003c/p>\n\u003cp>That same year, a new movement percolated in New York City: Occupy Wall Street, a protest against corporate interests and wealth inequality. As Occupy protests took root across the country, the center of the action in Oakland was Frank Ogawa Plaza at City Hall, which activists dubbed Oscar Grant Plaza. Following the unofficial name change, calling out racism in the criminal justice system became a core tenet of Occupy Oakland even as the national movement emphasized economics.\u003c/p>\n\u003cp>Many key people from the Oscar Grant protests showed up. Boots Riley \u003ca href=\"http://www.look2remember.com/2011/12/11/boots-riley-at-occupy-oakland-general-strike/\" target=\"_blank\" rel=\"noopener noreferrer\">led direct actions\u003c/a> as police encroached on the Occupy encampment; Mistah F.A.B. delivered speeches on the City Hall steps alongside Nation of Islam leaders and members of Oscar Grant’s family.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Xym-xl8zLNw'\n title='//www.youtube.com/embed/Xym-xl8zLNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jon-Paul Bail and fellow street artist \u003ca href=\"https://www.instagram.com/rebelstilskin/\" target=\"_blank\" rel=\"noopener noreferrer\">Kalleb Arefaine\u003c/a> arrived to screenprint thousands of posters on site, handing them directly to demonstrators. Graffiti artists, including \u003ca href=\"http://endlesscanvas.com/?p=5004\" target=\"_blank\" rel=\"noopener noreferrer\">Eesuu\u003c/a> and \u003ca href=\"http://endlesscanvas.com/?p=4940\" target=\"_blank\" rel=\"noopener noreferrer\">Optimist\u003c/a>, joined the cause, covering the city with “Justice for Oscar Grant” posters and tags. Oscar Grant murals and wheatpasted posters showed up all over town as protesters camped out in front of City Hall.\u003c/p>\n\u003cp>“When the news and everyone was complaining about the graffiti,” recalls Arefaine, “it broadcasted the message even more.”\u003c/p>\n\u003ch2>Grant’s family enlists artists’ help\u003c/h2>\n\u003cp>During the height of Occupy Oakland, Oscar Grant’s uncle Cephus Johnson, known to many as Uncle Bobby, saw Bail screenprinting at a protest and approached him to collaborate on a new design for a vigil he’d planned for the third anniversary of Grant’s death on Jan. 1, 2012. This time, Bail enlisted another artist, \u003ca href=\"http://cargocollective.com/2amisthetime/filter/2amart/About\" target=\"_blank\" rel=\"noopener noreferrer\">Aambr Newsome a.k.a. 2AM\u003c/a>, who was a Berkeley City College student at the time. Newsome and Bail drew a stylized portrait of a smiling Oscar Grant, illuminated by sunshine with protest signs in the background.\u003c/p>\n\u003cp>Newsome recalls how Oscar Grant’s murder awakened her to the reality of police violence against black communities in America. She felt a sense of duty to lend her illustration skills to the cause. “For me, it was really important providing assistance to those families who feel like they don’t have a voice, that nobody is listening, and to really give them something to march with,” she says. “I think that makes them louder. It makes them a bit more proud so they feel like they have supporters backing them.”\u003c/p>\n\u003cfigure id=\"attachment_13847781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847781\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_0786-800x533.jpg\" alt=\"Kalleb Arefaine and Jon-Paul Bail printed thousands of anti-police brutality posters over the past decade. Bail (right) holds a poster he created with Aambr Newsom in 2012.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kalleb Arefaine and Jon-Paul Bail printed thousands of anti-police brutality posters over the past decade. Bail (right) holds a poster he created with Aambr Newsom in 2012. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson, who assumed the role of family spokesperson after founding the \u003ca href=\"http://www.lovenotbloodcampaign.com\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant Foundation\u003c/a> in 2010, collaborated with numerous artists in the wake of Grant’s death. Johnson’s voice appears on rapper Young Gully’s album \u003cem>\u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">The Grant Station Project\u003c/a> \u003c/em>on the heartfelt final track, “Letter to Grant,” where Gully raps from the perspective of Grant in heaven. (KQED’s Pendarvis Harshaw was an executive producer on the album.)\u003c/p>\n\u003cp>Young Gully recalls how Johnson was skeptical of his intentions until he heard “Letter to Grant” being recorded in the studio. “When Uncle Bobby heard that, he cried. That one song is what allowed me to put that album out,” Gully says. “After that, he saw what my angle was. We built this big relationship, and basically he loved me for that.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3032191159/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For Johnson, working with artists was crucial for drawing attention to injustice, and especially getting young people on board with the fight against police brutality. “Artistry from muralists, hip-hop artists—and artists period, whether they be spoken-word artists, portraitists—they all shared their gifts when it came time to talk about Oscar Grant and speak about the social ills of the system concerning police violence, state-sponsored violence,” he says. “It was young people speaking to young people, and us elders heard their call and responded.”\u003c/p>\n\u003ch2>The movement hits the big screen\u003c/h2>\n\u003cp>The “Justice for Oscar Grant” poster Newsome and Bail created with Johnson’s blessing ended up in \u003cem>Black Panther\u003c/em> director Ryan Coogler’s debut feature film, \u003cem>Fruitvale Station\u003c/em>, about the final 24 hours of Oscar Grant’s life.\u003c/p>\n\u003cp>Coogler, an Oakland native who was only a year older than Grant at the time of the killing, painted a portrait of Grant as an imperfect but loving young father attempting to get his life on track after a stint behind bars. The humanizing portrayal was crucial to the developing national conversation about racial injustice, which only grew more tense after the high-profile shooting of Trayvon Martin in 2012.\u003c/p>\n\u003cp>By the time \u003cem>Fruitvale Station\u003c/em> hit theaters in 2013, Oscar Grant had become a martyr, a symbol and a hashtag after four years of protests in his name. But \u003cem>Fruitvale Station\u003c/em> brought the focus back on Grant as a regular, working-class young man finding his way. At a time when news media regularly vilified victims of police brutality—for example, \u003ca href=\"https://www.theatlantic.com/politics/archive/2012/03/what-did-trayvon-look-depends-your-politics/329893/\" target=\"_blank\" rel=\"noopener noreferrer\">the fixation\u003c/a> on photos of Trayvon Martin showing his middle finger—this was essential.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/crMTGCCui5c'\n title='//www.youtube.com/embed/crMTGCCui5c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“[Oscar] has to deal with his baby mama; he has to deal with money; he has to figure out what to do with this dog; his job has some stress,” says Carvell Wallace, an Oakland-based critic who has \u003ca href=\"https://www.nytimes.com/2018/02/12/magazine/why-black-panther-is-a-defining-moment-for-black-america.html\" target=\"_blank\" rel=\"noopener noreferrer\">covered Coogler’s work\u003c/a> for \u003cem>The New York Times\u003c/em>. “The way [Coogler] takes us through this allows us to relate to those things so we see him as a person. I think it’s important to see someone as a person before they become a hashtag, and that’s what the movements are always fighting for. And that’s an uphill battle.”\u003c/p>\n\u003cp>With a wide release in theaters across the country, \u003cem>Fruitvale Station\u003c/em> was essential for building empathy among non-black Americans who didn’t have personal experience with police brutality and racial injustice, and who might have felt threatened by the protests they saw on the news without understanding the underlying cause. “I think what Coogler did with that film was show Oscar Grant not as a ‘them’ but as a ‘you,'” says Wallace.\u003c/p>\n\u003cp>April Reign, a diversity advocate who coined the #OscarsSoWhite hashtag in response to a lack of black artists at the Academy Awards, says that \u003cem>Fruitvale Station\u003c/em> served another purpose: it emphasized the importance of documenting injustice with smartphones, which was instrumental to the Black Lives Matter movement as it took off nationally in 2013.\u003c/p>\n\u003cp>“The movie \u003cem>Fruitvale Station\u003c/em> was incredibly underrated and really brought to the forefront some of the issues that people had been fighting for years,” says Reign. “Not just talking about the issues of state-sanctioned violence, but also the question of filming the police, and how taking a stand in that way has the potential to make a difference when cops are involved in violence against American citizens, especially black men.”\u003c/p>\n\u003ch2>Black Lives Matter on the world stage\u003c/h2>\n\u003cp>The Bay Area artists politicized during the Oscar Grant protests found a new calling with the Black Lives Matter movement, a rallying cry against systemic racism after the high-profile killings of Martin, Mike Brown and Eric Garner.\u003c/p>\n\u003cp>Oakland artist \u003ca href=\"http://www.oreeoriginol.com/justiceforourlives.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oree Original\u003c/a> created dozens of downloadable portraits of victims of police brutality that Black Lives Matter activists carried at marches nationwide. And \u003ca href=\"http://chinakahodge.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinaka Hodge\u003c/a>, a star of the Bay Area’s literary scene, debuted her critically acclaimed play \u003cem>Chasing Mehserle\u003c/em>, which toured the country after its local premiere in 2014.\u003c/p>\n\u003cfigure id=\"attachment_12624168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12624168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/oreeportrait-800x450.jpg\" alt=\"Artist Oree Originol\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Oree Originol with posters from his ‘Justice for Our Lives’ project. \u003ccite>(Manjula Varghese)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Lives Matter protests continued into 2016, following the deaths of Sandra Bland in Texas, Philando Castile in Minnesota and Alton Sterling in Louisiana. The movement entered the pop culture zeitgeist: Beyoncé brought Grant’s mother, Reverend Wanda Johnson, and the mothers of Brown, Martin and Garner to the \u003ca href=\"https://www.independent.co.uk/news/beyonce-brings-mothers-of-eric-garner-trayvon-martin-mike-brown-and-oscar-grant-to-vmas-2016-a7214741.html\" target=\"_blank\" rel=\"noopener noreferrer\">2016 VMAs\u003c/a>. Colin Kaepernick, whose kneeling protest against police brutality received support from Grant’s family, continues to be the biggest topic of conversation in the NFL.\u003c/p>\n\u003cp>Chart-topping artists like Migos and Young Thug mentioned victims of police violence in their songs; Kendrick Lamar made history at the \u003ca href=\"https://www.rollingstone.com/music/music-news/grammys-2016-king-kendrick-lamar-steals-the-show-178882/\" target=\"_blank\" rel=\"noopener noreferrer\">2016 Grammy Awards\u003c/a> with a performance that called out racism in the criminal justice system. Drawing from a long history of African-American protest art, the wave of artists demanding justice for Grant ushered in an era of creatives and entertainers speaking out against police brutality, and using social media to amplify the conversation.\u003c/p>\n\u003cp>“Artistry spring-boarded the Oscar Grant movement,” says Johnson, Grant’s uncle. “So today, when we see young men getting killed, there are forms of artistry that come into play… It’s carried on ever since.”\u003c/p>\n\u003cp>Ryan Coogler and Boots Riley kicked off a huge year for black cinema with the successes of their 2018 films \u003cem>Black Panther \u003c/em>and \u003cem>Sorry to Bother You\u003c/em>, and other critically acclaimed films from that year addressed police brutality directly. Director George Tillman Jr. based his movie about the aftermath of a police shooting, \u003cem>\u003ca href=\"https://www.latimes.com/entertainment/movies/la-ca-mn-sneaks-hate-u-give-20180830-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Hate U Give\u003c/a>, \u003c/em>on a young-adult novel by Angie Thomas, who began writing it after watching cellphone footage of Oscar Grant’s death. Similarly, \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal, both from Oakland, wrote the screenplay for\u003cem> Blindspotting\u003c/em>—about a man reeling from PTSD after witnessing a police shooting—in the aftermath of the Oscar Grant shooting.\u003c/p>\n\u003cp>“We were trying to match the nature of the national conversation about these kinds of killings,” Diggs \u003ca href=\"https://www.kqed.org/arts/13837184/blindspotting-is-a-spot-on-portrait-of-an-oakland-in-flux\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> KQED in a July 2018 interview about the film. “When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003ch2>Culture shifts, legislation stagnates\u003c/h2>\n\u003cp>Although the many examples of art to emerge from the fight against police brutality have shifted American consciousness and changed the culture, policy has been slow to catch up. California passed a law creating \u003ca href=\"https://www.aclusocal.org/en/press-releases/california-passes-landmark-police-transparency-and-accountability-legislation\" target=\"_blank\" rel=\"noopener noreferrer\">greater transparency in police misconduct cases\u003c/a> in 2018, but no sweeping state or federal reforms have taken place, especially regarding disciplining officers who abuse their authority. \u003ca href=\"https://www.washingtonpost.com/graphics/2018/national/police-shootings-2018/?utm_term=.a11ef20c2f4b\" target=\"_blank\" rel=\"noopener noreferrer\">Recent studies\u003c/a> estimate that police kill nearly 1,000 people a year in the United States, but \u003ca href=\"https://www.cnn.com/2017/05/18/us/police-involved-shooting-cases/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">only 80 officers\u003c/a> were arrested on murder or manslaughter chargers for on-duty shootings between 2005 and 2017. Of those, only 35 percent were convicted.\u003c/p>\n\u003cp>Oaklanders voted to replace an inefficient Citizens’ Police Review Board in 2016 with the Oakland Police Commission, which has more power to investigate and discipline officers accused of misconduct. But the board’s first year was marred by turmoil and leadership changes, with one commissioner calling it a “squandered opportunity” in her \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/11/29/oakland-police-commissioner-resigns-calling-the-oversight-boards-first-year-a-squandered-opportunity\" target=\"_blank\" rel=\"noopener noreferrer\">resignation letter in November 2018\u003c/a>.\u003c/p>\n\u003cp>With Donald Trump in office, police brutality is no longer a central focus for many non-black Americans as the administration enacts policies that undermine many other populations’ civil liberties. The lack of tangible progress feels deflating to some, but the fight against systemic racism started long before Oscar Grant—and will continue long after.\u003c/p>\n\u003cp>“The system hasn’t changed, and policing hasn’t become more transparent than it was before. It’s just more visible,” says Black Lives Matter’s Garza. “Black people are still being murdered.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gRJboyRHfYo'\n title='//www.youtube.com/embed/gRJboyRHfYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For many of the artists who mobilized against police brutality ten years ago, the pain of Grant’s death and the fraught state of race relations in America are still front-of-mind. \u003ca href=\"https://www.kqed.org/news/11710770/honoring-oscar-grant-gets-political-at-bart-meeting\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, a street artist involved in the movement since at least 2009, is currently painting a new mural honoring Grant at Fruitvale BART station. Mistah F.A.B. recently filmed a music video at Fruitvale station for his new song “War Vibes,” where he raps face down on the platform—the position Grant found himself in during his last moments.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s unfortunate that these kids are being killed and stripped of their lives and their innocence,” Mistah F.A.B. says. “It’s not even safe outside. A trip to the store could end in you being beat up or shot by the police.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "channeling-the-pain-of-depression-into-photography-and-finding-you-are-not-alone",
"title": "Channeling The Pain Of Depression Into Photography, And Finding You Are Not Alone",
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"content": "\u003cp>In a particularly difficult season of depression, photography was one of the tools \u003ca href=\"https://www.tarawray.net/\">Tara Wray\u003c/a> used to cope.\u003c/p>\n\u003cp>“Just forcing myself to get out of my head and using the camera to do that is, in a way, a therapeutic tool,” says Wray, a photographer and filmmaker based in central Vermont. “It’s like exercise: You don’t want to do it, you have to make yourself do it, and you feel better after you do.”\u003c/p>\n\u003cfigure id=\"attachment_13847888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-800x585.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-520x380.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>In July, she published \u003ca href=\"http://www.yoffypress.com/too-tired-for-sunshine/\">Too Tired for Sunshine\u003c/a>, a book of her photos from that period, taken between 2011 and 2018. Some of the images show a stark beauty, others a raw loneliness, and some capture hints that the world may be slightly off-kilter.\u003c/p>\n\u003cp>Photographically, Wray says she’s drawn to light, the honesty of dogs and “things that are humorous and maybe aren’t trying to be.” Making these images helped keep her buoyant.\u003c/p>\n\u003cfigure id=\"attachment_13847886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-800x599.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>Having a camera functions as “a sort of protection, a buffer that gives me a reason to be somewhere,” she says. “It helps me move through an environment with a purpose when I might otherwise feel out of place.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And, like exercise, photography provides a kind of release. “When I’ve made what I think is a good picture, I can feel it, and everything else momentarily falls away.”\u003c/p>\n\u003cp>Through creative expression, Wray says she’s able to focus her “ruminating or obsessing” into “something bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13847885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-800x540.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-768x518.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>“There were moments that I felt alone and isolated in a dark place, and I wondered if I would see the other side of it,” she says. “Photography has given me those moments back … I can now see them in a different light.”\u003c/p>\n\u003cp>At the same time, Wray stresses that photography isn’t her \u003cem>only \u003c/em>tool.\u003c/p>\n\u003cp>“You’ve gotta have a whole arsenal of things to deal with mental illness, and I try to do all the things I can to stay healthy,” she says, adding that she knows she is fortunate to have a supportive family and access to therapy, medication and good doctors.\u003c/p>\n\u003cfigure id=\"attachment_13847884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847884\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-800x600.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>Wray is a self-described introvert and private person. For her, taking the photos was one thing, but the decision to publish a book about her experience with mental illness was another.\u003c/p>\n\u003cp>“I question that all the time,” she says. But her belief in the importance of breaking a stigma won out.\u003c/p>\n\u003cp>“These are things you wouldn’t necessarily talk about with the other parents at pickup at school, but here I am putting everything out there,” says Wray. “I’m using my own sort of shame and fear of sharing this with others to encourage others, to say, ‘It’s OK to do it.’ … There’s nothing to be ashamed about.”\u003c/p>\n\u003cfigure id=\"attachment_13847882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-800x592.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-520x385.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>“The act of sharing a photo — of being seen and understood by others — probably matters more than I would like to admit,” she says.\u003c/p>\n\u003cp>That connection, it turned out, went both ways. People who saw the book reached out to Wray to share their excitement and their own photography. She had struck a chord.\u003c/p>\n\u003cp>“People would say, ‘I make work similarly,’ or ‘The camera is something I use as a tool,’ or ‘Would you take a look at this series that I made when I was going through this?’ ” Wray says.\u003c/p>\n\u003cp>A month after her book was published, Wray invited others to share their photography.\u003c/p>\n\u003cp>[contextly_sidebar id=”WfNbRppmh2sU9qobCx3ZqnyBne6LXToA”]\u003c/p>\n\u003cp>She started an Instagram account, \u003ca href=\"https://www.instagram.com/tootiredproject/\">@TooTiredProject\u003c/a>, “to help those struggling with depression by offering a place for collective creative expression,” and asked people to tag their images \u003ca href=\"https://www.instagram.com/explore/tags/tootiredproject/\">#TooTiredProject\u003c/a>.\u003c/p>\n\u003cp>One thing that surprised Wray was how many people have wanted to share their work — but didn’t know how or where to do it.\u003c/p>\n\u003cp>One photographer, Alison Crouse, says she had been working on a project, \u003ca href=\"https://www.instagram.com/devastationportraits/\">Devastation Portraits\u003c/a>, for years before Wray encouraged her to make it public.\u003c/p>\n\u003cp>“It feels like so much of the Internet is just small talk,” says Wray. “On the [Too Tired Project], people are going a little bit beyond that, and I think that’s a good place to be.”\u003c/p>\n\u003cp>[contextly_sidebar id=”CKvcvvKCkeSIhKz5DcPRSRXAplmP8LBa”]\u003c/p>\n\u003cp>The images are often accompanied by revealing captions that can be as striking as the photos themselves. Wray describes one such submission from photographer \u003ca href=\"https://www.instagram.com/filmnotdead/\">@Filmnotdead\u003c/a>.\u003c/p>\n\u003cp>She shared an image she made in bed, looking out at her son with a caption that reads: “Grateful I have people and animals who love me and depend upon me to get up every day. Still grieving my mother’s passing nearly 5 months later.”\u003c/p>\n\u003cp>Wray chokes up as she recalls it. “I can relate, Mama,” she says, “I’ve been there.”\u003c/p>\n\u003cp>She plans to continue sharing submissions on the account (she has received nearly 5,000 to date) and organizing meetups to foster community and connect people with mental health services through \u003ca href=\"https://openpathcollective.org/\">Open Path Psychotherapy Collective\u003c/a>, a nonprofit network that helps people find affordable care. The first meetup was in Santa Fe, N.M., in October, and there are more in the works. (Future events will announced at the \u003ca href=\"https://www.instagram.com/tootiredproject/\">Too Tired Project\u003c/a>.)\u003c/p>\n\u003cp>Ultimately, Wray plans to collaborate with \u003ca href=\"http://www.yoffypress.com/\">Yoffy Press\u003c/a>, the publisher of \u003cem>Too Tired for Sunshine, \u003c/em>to turn the Instagram submissions into a book, much like her own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But this time, the final product will feature multiple perspectives and experiences, driving home the epiphany she had after sharing her own images: “I’m not alone.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Channeling+The+Pain+Of+Depression+Into+Photography%2C+And+Finding+You+Are+Not+Alone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Tara Wray's book \u003cem>Too Tired for Sunshine\u003c/em> is a collection of images she made while struggling with depression. The work struck a chord with others, who are now sharing their images in an online project.",
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"title": "Channeling The Pain Of Depression Into Photography, And Finding You Are Not Alone | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a particularly difficult season of depression, photography was one of the tools \u003ca href=\"https://www.tarawray.net/\">Tara Wray\u003c/a> used to cope.\u003c/p>\n\u003cp>“Just forcing myself to get out of my head and using the camera to do that is, in a way, a therapeutic tool,” says Wray, a photographer and filmmaker based in central Vermont. “It’s like exercise: You don’t want to do it, you have to make yourself do it, and you feel better after you do.”\u003c/p>\n\u003cfigure id=\"attachment_13847888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-800x585.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-520x380.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>In July, she published \u003ca href=\"http://www.yoffypress.com/too-tired-for-sunshine/\">Too Tired for Sunshine\u003c/a>, a book of her photos from that period, taken between 2011 and 2018. Some of the images show a stark beauty, others a raw loneliness, and some capture hints that the world may be slightly off-kilter.\u003c/p>\n\u003cp>Photographically, Wray says she’s drawn to light, the honesty of dogs and “things that are humorous and maybe aren’t trying to be.” Making these images helped keep her buoyant.\u003c/p>\n\u003cfigure id=\"attachment_13847886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-800x599.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>Having a camera functions as “a sort of protection, a buffer that gives me a reason to be somewhere,” she says. “It helps me move through an environment with a purpose when I might otherwise feel out of place.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And, like exercise, photography provides a kind of release. “When I’ve made what I think is a good picture, I can feel it, and everything else momentarily falls away.”\u003c/p>\n\u003cp>Through creative expression, Wray says she’s able to focus her “ruminating or obsessing” into “something bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13847885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-800x540.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-768x518.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>“There were moments that I felt alone and isolated in a dark place, and I wondered if I would see the other side of it,” she says. “Photography has given me those moments back … I can now see them in a different light.”\u003c/p>\n\u003cp>At the same time, Wray stresses that photography isn’t her \u003cem>only \u003c/em>tool.\u003c/p>\n\u003cp>“You’ve gotta have a whole arsenal of things to deal with mental illness, and I try to do all the things I can to stay healthy,” she says, adding that she knows she is fortunate to have a supportive family and access to therapy, medication and good doctors.\u003c/p>\n\u003cfigure id=\"attachment_13847884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847884\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-800x600.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>Wray is a self-described introvert and private person. For her, taking the photos was one thing, but the decision to publish a book about her experience with mental illness was another.\u003c/p>\n\u003cp>“I question that all the time,” she says. But her belief in the importance of breaking a stigma won out.\u003c/p>\n\u003cp>“These are things you wouldn’t necessarily talk about with the other parents at pickup at school, but here I am putting everything out there,” says Wray. “I’m using my own sort of shame and fear of sharing this with others to encourage others, to say, ‘It’s OK to do it.’ … There’s nothing to be ashamed about.”\u003c/p>\n\u003cfigure id=\"attachment_13847882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-800x592.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-520x385.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>“The act of sharing a photo — of being seen and understood by others — probably matters more than I would like to admit,” she says.\u003c/p>\n\u003cp>That connection, it turned out, went both ways. People who saw the book reached out to Wray to share their excitement and their own photography. She had struck a chord.\u003c/p>\n\u003cp>“People would say, ‘I make work similarly,’ or ‘The camera is something I use as a tool,’ or ‘Would you take a look at this series that I made when I was going through this?’ ” Wray says.\u003c/p>\n\u003cp>A month after her book was published, Wray invited others to share their photography.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She started an Instagram account, \u003ca href=\"https://www.instagram.com/tootiredproject/\">@TooTiredProject\u003c/a>, “to help those struggling with depression by offering a place for collective creative expression,” and asked people to tag their images \u003ca href=\"https://www.instagram.com/explore/tags/tootiredproject/\">#TooTiredProject\u003c/a>.\u003c/p>\n\u003cp>One thing that surprised Wray was how many people have wanted to share their work — but didn’t know how or where to do it.\u003c/p>\n\u003cp>One photographer, Alison Crouse, says she had been working on a project, \u003ca href=\"https://www.instagram.com/devastationportraits/\">Devastation Portraits\u003c/a>, for years before Wray encouraged her to make it public.\u003c/p>\n\u003cp>“It feels like so much of the Internet is just small talk,” says Wray. “On the [Too Tired Project], people are going a little bit beyond that, and I think that’s a good place to be.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The images are often accompanied by revealing captions that can be as striking as the photos themselves. Wray describes one such submission from photographer \u003ca href=\"https://www.instagram.com/filmnotdead/\">@Filmnotdead\u003c/a>.\u003c/p>\n\u003cp>She shared an image she made in bed, looking out at her son with a caption that reads: “Grateful I have people and animals who love me and depend upon me to get up every day. Still grieving my mother’s passing nearly 5 months later.”\u003c/p>\n\u003cp>Wray chokes up as she recalls it. “I can relate, Mama,” she says, “I’ve been there.”\u003c/p>\n\u003cp>She plans to continue sharing submissions on the account (she has received nearly 5,000 to date) and organizing meetups to foster community and connect people with mental health services through \u003ca href=\"https://openpathcollective.org/\">Open Path Psychotherapy Collective\u003c/a>, a nonprofit network that helps people find affordable care. The first meetup was in Santa Fe, N.M., in October, and there are more in the works. (Future events will announced at the \u003ca href=\"https://www.instagram.com/tootiredproject/\">Too Tired Project\u003c/a>.)\u003c/p>\n\u003cp>Ultimately, Wray plans to collaborate with \u003ca href=\"http://www.yoffypress.com/\">Yoffy Press\u003c/a>, the publisher of \u003cem>Too Tired for Sunshine, \u003c/em>to turn the Instagram submissions into a book, much like her own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But this time, the final product will feature multiple perspectives and experiences, driving home the epiphany she had after sharing her own images: “I’m not alone.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Channeling+The+Pain+Of+Depression+Into+Photography%2C+And+Finding+You+Are+Not+Alone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "janelle-monae-on-her-dirty-world-dominating-year",
"title": "Janelle Monáe On Her Dirty, World-Dominating Year",
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"content": "\u003cp>It has been a very big year for \u003ca href=\"https://www.npr.org/artists/126833375/janelle-mon-e\">Janelle Monáe\u003c/a>.\u003c/p>\n\u003cp>She was named trailblazer of the year at \u003cem>Billboard\u003c/em>‘s Women in Music awards, woman of the year by \u003cem>Glamour\u003c/em>. She came out as pansexual in a sprawling \u003cem>Rolling Stone\u003c/em> cover story. And her album \u003ca href=\"https://www.npr.org/sections/allsongs/2018/04/27/606066039/janelle-mon-e-strips-the-hardware-for-humanity\">\u003cem>Dirty Computer\u003c/em>\u003c/a>, released this spring with a companion film — sorry, “emotion picture” — is Grammy-nominated for album of the year and can be found on practically every major list of the best albums of 2018, including ours.\u003c/p>\n\u003cp>[contextly_sidebar id=”8tVKPU6hLeXFgLhpAlKGK6SUj63pWcvU”]\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> was named NPR Music’s \u003ca href=\"https://www.npr.org/2018/12/04/671242319/the-50-best-albums-of-2018-page-5\">No. 1 album of 2018\u003c/a>, in part because of its message. As one staffer wrote, the songs take place in “a vivid dystopian world where anyone deemed ‘dirty’ is hunted and chemically lobotomized, or ‘cleaned.’ In this totalitarian world of Dirty Computers, not unlike the divisive reality of 2018, nonconformity can spell extinction if you don’t fight back. With every guitar riff, every interlude, every moment of loving, queer affection, Monáe fights.”\u003c/p>\n\u003cp>Janelle Monáe joined NPR’s Ailsa Chang from the Atlanta studios of her entertainment company, Wondaland Arts Society (whose film division recently entered into a production agreement with Universal), to talk about her process, her plans and why \u003cem>Dirty Computer\u003c/em> could only have been written now. Hear the radio version at the audio link, and read on for highlights — including some moments that didn’t make the broadcast.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/678450755/679237341\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what \u003c/strong>\u003cem>\u003cstrong>Dirty Computer\u003c/strong>\u003c/em>\u003cstrong> reveals about her career\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> was supposed to be the album that came out before my first album, \u003cem>The ArchAndroid\u003c/em>, [but] I felt like I needed to live more. It started to really make itself once I got my mind and my spirit fearless enough to dig deep and have conversations with myself.\u003c/p>\n\u003cp>One of the things that I felt was happening was, I was writing music only when I felt great. It was like, you go into the studio, and I want to go in when my heart is clear, when I know what I want to say. I got to point where it was crippling me, this idea of perfectionism, and it stopped me from writing for a minute. And what I decided to do was take some time. So when I wrote this album, it wasn’t about perfection. It was about the imperfections. It was about embracing all those things that make you unique, even if it makes your own self uncomfortable.\u003c/p>\n\u003cp>\u003cstrong>On the song “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zmG0LAbcmuM\">\u003cstrong>So Afraid\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/zmG0LAbcmuM\u003c/p>\n\u003cp>For me it was about my love and hate relationship with this country. I love being American, I love being born here and having roots here. But there are some really evil things that have happened and continue to happen. And it speaks to being afraid of forgiving. I think of being hurt again, or being manipulated, or not fully standing my ground. And forgiving myself, also — you know, it’s two parts. It’s about being able to love yourself through it all, being able to love where you are right now, and to give yourself permission to forgive yourself when you make mistakes, when you let other people down.\u003c/p>\n\u003cp>\u003cstrong>On the story told in the album’s structure\u003c/strong>\u003c/p>\n\u003cp>The album is broken up into three parts. The first few songs represent the reckoning — reckoning with what it means to be called a n***** for the first time by a white person, or being called a b**** for the first time by a man. And then you have the middle section, where “\u003ca href=\"https://www.youtube.com/watch?v=PaYvlVR_BEc\">Pynk\u003c/a>” falls in, and songs like “\u003ca href=\"https://www.youtube.com/watch?v=tGRzz0oqgUE\">Make Me Feel\u003c/a>,” that are celebratory of sexuality and of womanness. The latter part of the album deals with the reclamation: A song like “\u003ca href=\"https://www.youtube.com/watch?v=POZNheF-KdY\">Americans\u003c/a>” is about reclaiming what it means to be an American. My ancestors helped build the White House, helped build this country. And it’s not time to run away, it’s time to stand your ground and confront what I call the great divide — those who seek to divide us and highlight all our differences and make us fearful of each other.\u003c/p>\n\u003cp>\u003cstrong>On the mission of her film company, Wondaland Pictures\u003c/strong>\u003c/p>\n\u003cp>There’s so many stories out there. If I look at a \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\">\u003cem>Moonlight \u003c/em>\u003c/a>\u003cem>—\u003c/em> a movie that I was extremely excited about being a part of — having a young, gay, black boy highlighted in the way that \u003cem>Moonlight \u003c/em>highlighted his voice and story, I’d never seen in cinema. Even with \u003ca href=\"https://www.npr.org/sections/13.7/2017/02/08/514048864/math-to-the-stars-the-ladies-of-hidden-figures\">\u003cem>Hidden Figures\u003c/em>\u003c/a>\u003cem>,\u003c/em> another film that I was really honored to be a part of, I didn’t have any idea about those women who helped get John Glenn into orbit, or the human computers who were doing all the numbers that it took to get our astronauts into space. So I’m just looking for those unique stories. There are a lot of other people that I respect and admire, like Issa Rae and Lena Waithe and Jordan Peele, who are who are also pushing forward underrepresented voices. I just hope, and Wondaland hopes, to continue to push culture forward and and redefine how we are viewed. I want to make movies the dirty computers can feel proud of.\u003c/p>\n\u003cp>\u003cstrong>On being Janelle Monáe in 2018\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It feels like when you get off from school early in the first grade and your grandmother takes you to get ice cream, and you eat ice cream all night and you don’t have a tummy ache, and then you get to go to the amusement park all by yourself. It’s unexplainable, but it’s very humbling — that word keeps popping up in my mind, and in my heart.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Janelle+Mon%C3%A1e+On+Her+Dirty%2C+World-Dominating+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has been a very big year for \u003ca href=\"https://www.npr.org/artists/126833375/janelle-mon-e\">Janelle Monáe\u003c/a>.\u003c/p>\n\u003cp>She was named trailblazer of the year at \u003cem>Billboard\u003c/em>‘s Women in Music awards, woman of the year by \u003cem>Glamour\u003c/em>. She came out as pansexual in a sprawling \u003cem>Rolling Stone\u003c/em> cover story. And her album \u003ca href=\"https://www.npr.org/sections/allsongs/2018/04/27/606066039/janelle-mon-e-strips-the-hardware-for-humanity\">\u003cem>Dirty Computer\u003c/em>\u003c/a>, released this spring with a companion film — sorry, “emotion picture” — is Grammy-nominated for album of the year and can be found on practically every major list of the best albums of 2018, including ours.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> was named NPR Music’s \u003ca href=\"https://www.npr.org/2018/12/04/671242319/the-50-best-albums-of-2018-page-5\">No. 1 album of 2018\u003c/a>, in part because of its message. As one staffer wrote, the songs take place in “a vivid dystopian world where anyone deemed ‘dirty’ is hunted and chemically lobotomized, or ‘cleaned.’ In this totalitarian world of Dirty Computers, not unlike the divisive reality of 2018, nonconformity can spell extinction if you don’t fight back. With every guitar riff, every interlude, every moment of loving, queer affection, Monáe fights.”\u003c/p>\n\u003cp>Janelle Monáe joined NPR’s Ailsa Chang from the Atlanta studios of her entertainment company, Wondaland Arts Society (whose film division recently entered into a production agreement with Universal), to talk about her process, her plans and why \u003cem>Dirty Computer\u003c/em> could only have been written now. Hear the radio version at the audio link, and read on for highlights — including some moments that didn’t make the broadcast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/678450755/679237341\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what \u003c/strong>\u003cem>\u003cstrong>Dirty Computer\u003c/strong>\u003c/em>\u003cstrong> reveals about her career\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> was supposed to be the album that came out before my first album, \u003cem>The ArchAndroid\u003c/em>, [but] I felt like I needed to live more. It started to really make itself once I got my mind and my spirit fearless enough to dig deep and have conversations with myself.\u003c/p>\n\u003cp>One of the things that I felt was happening was, I was writing music only when I felt great. It was like, you go into the studio, and I want to go in when my heart is clear, when I know what I want to say. I got to point where it was crippling me, this idea of perfectionism, and it stopped me from writing for a minute. And what I decided to do was take some time. So when I wrote this album, it wasn’t about perfection. It was about the imperfections. It was about embracing all those things that make you unique, even if it makes your own self uncomfortable.\u003c/p>\n\u003cp>\u003cstrong>On the song “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zmG0LAbcmuM\">\u003cstrong>So Afraid\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zmG0LAbcmuM'\n title='//www.youtube.com/embed/zmG0LAbcmuM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For me it was about my love and hate relationship with this country. I love being American, I love being born here and having roots here. But there are some really evil things that have happened and continue to happen. And it speaks to being afraid of forgiving. I think of being hurt again, or being manipulated, or not fully standing my ground. And forgiving myself, also — you know, it’s two parts. It’s about being able to love yourself through it all, being able to love where you are right now, and to give yourself permission to forgive yourself when you make mistakes, when you let other people down.\u003c/p>\n\u003cp>\u003cstrong>On the story told in the album’s structure\u003c/strong>\u003c/p>\n\u003cp>The album is broken up into three parts. The first few songs represent the reckoning — reckoning with what it means to be called a n***** for the first time by a white person, or being called a b**** for the first time by a man. And then you have the middle section, where “\u003ca href=\"https://www.youtube.com/watch?v=PaYvlVR_BEc\">Pynk\u003c/a>” falls in, and songs like “\u003ca href=\"https://www.youtube.com/watch?v=tGRzz0oqgUE\">Make Me Feel\u003c/a>,” that are celebratory of sexuality and of womanness. The latter part of the album deals with the reclamation: A song like “\u003ca href=\"https://www.youtube.com/watch?v=POZNheF-KdY\">Americans\u003c/a>” is about reclaiming what it means to be an American. My ancestors helped build the White House, helped build this country. And it’s not time to run away, it’s time to stand your ground and confront what I call the great divide — those who seek to divide us and highlight all our differences and make us fearful of each other.\u003c/p>\n\u003cp>\u003cstrong>On the mission of her film company, Wondaland Pictures\u003c/strong>\u003c/p>\n\u003cp>There’s so many stories out there. If I look at a \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\">\u003cem>Moonlight \u003c/em>\u003c/a>\u003cem>—\u003c/em> a movie that I was extremely excited about being a part of — having a young, gay, black boy highlighted in the way that \u003cem>Moonlight \u003c/em>highlighted his voice and story, I’d never seen in cinema. Even with \u003ca href=\"https://www.npr.org/sections/13.7/2017/02/08/514048864/math-to-the-stars-the-ladies-of-hidden-figures\">\u003cem>Hidden Figures\u003c/em>\u003c/a>\u003cem>,\u003c/em> another film that I was really honored to be a part of, I didn’t have any idea about those women who helped get John Glenn into orbit, or the human computers who were doing all the numbers that it took to get our astronauts into space. So I’m just looking for those unique stories. There are a lot of other people that I respect and admire, like Issa Rae and Lena Waithe and Jordan Peele, who are who are also pushing forward underrepresented voices. I just hope, and Wondaland hopes, to continue to push culture forward and and redefine how we are viewed. I want to make movies the dirty computers can feel proud of.\u003c/p>\n\u003cp>\u003cstrong>On being Janelle Monáe in 2018\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It feels like when you get off from school early in the first grade and your grandmother takes you to get ice cream, and you eat ice cream all night and you don’t have a tummy ache, and then you get to go to the amusement park all by yourself. It’s unexplainable, but it’s very humbling — that word keeps popping up in my mind, and in my heart.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Janelle+Mon%C3%A1e+On+Her+Dirty%2C+World-Dominating+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Former President Barack Obama continued a tradition of sharing his favorite books, films and music of the year Friday, including several works by artists from the Bay Area. \u003c/p>\n\u003cp>“It gives me a moment to pause and reflect on the year through the books, movies, and music that I found most thought-provoking, inspiring, or just plain loved,” he wrote in a Facebook post. “It also gives me a chance to highlight talented authors, artists, and storytellers – some who are household names and others who you may not have heard of before.” [contextly_sidebar id=”3hSiRLx6iX9S4ZbNYwE6IbbPJHTFlMvM”]\u003c/p>\n\u003cp>In the books section of the list, Obama included Tommy Orange’s debut novel \u003cem>There There\u003c/em>, which follows a cast of Native American characters as their lives converge on a powwow at the Oakland Coliseum; and Oakland-based \u003cem>Mother Jones\u003c/em> reporter Shane Bauer’s \u003cem>American Prison\u003c/em>, an account of his time working at a privately-run prison in Louisiana alongside the history of for-profit incarceration in the United States. \u003c/p>\n\u003cp>For movies, meanwhile, Obama plugged \u003cem>Blindspotting\u003c/em>, an Oakland-set and filmed tale of gentrification and police violence co-starring and written by \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal. Ryan Coogler’s box-office smash \u003cem>Black Panther\u003c/em>, which begins and ends with scenes set in Oakland, also received Obama’s stamp of approval. [contextly_sidebar id=”8Eta5q50BLJiUZ7TQTyOAgSjm64mk2jG”]\u003c/p>\n\u003cp>Of the 22 songs on Obama’s list of favorite music, only Vallejo-raised H.E.R.’s R&B slow-burner “Could’ve Been” represents the Bay Area. As the singer reacted to Obama’s endorsement on Twitter, “Look mama I made it!”\u003c/p>\n\u003cp>Like the \u003ca href=\"https://www.kqed.org/arts/13846501/sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations\">Golden Globe nominations\u003c/a>, Oakland artist Boots Riley’s pro-labor comedy \u003cem>Sorry to Bother You\u003c/em> was shut out of Obama’s list. \u003c/p>\n\u003cp>Find Obama’s entire year-end list \u003ca href=\"https://www.facebook.com/barackobama/posts/10156393283416749?__tn__=K-R\">here\u003c/a>. \u003c/p>\n\u003cp>[vimeo 278727750 w=640 h=360]\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>Former President Barack Obama continued a tradition of sharing his favorite books, films and music of the year Friday, including several works by artists from the Bay Area. \u003c/p>\n\u003cp>“It gives me a moment to pause and reflect on the year through the books, movies, and music that I found most thought-provoking, inspiring, or just plain loved,” he wrote in a Facebook post. “It also gives me a chance to highlight talented authors, artists, and storytellers – some who are household names and others who you may not have heard of before.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the books section of the list, Obama included Tommy Orange’s debut novel \u003cem>There There\u003c/em>, which follows a cast of Native American characters as their lives converge on a powwow at the Oakland Coliseum; and Oakland-based \u003cem>Mother Jones\u003c/em> reporter Shane Bauer’s \u003cem>American Prison\u003c/em>, an account of his time working at a privately-run prison in Louisiana alongside the history of for-profit incarceration in the United States. \u003c/p>\n\u003cp>For movies, meanwhile, Obama plugged \u003cem>Blindspotting\u003c/em>, an Oakland-set and filmed tale of gentrification and police violence co-starring and written by \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal. Ryan Coogler’s box-office smash \u003cem>Black Panther\u003c/em>, which begins and ends with scenes set in Oakland, also received Obama’s stamp of approval. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Of the 22 songs on Obama’s list of favorite music, only Vallejo-raised H.E.R.’s R&B slow-burner “Could’ve Been” represents the Bay Area. As the singer reacted to Obama’s endorsement on Twitter, “Look mama I made it!”\u003c/p>\n\u003cp>Like the \u003ca href=\"https://www.kqed.org/arts/13846501/sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations\">Golden Globe nominations\u003c/a>, Oakland artist Boots Riley’s pro-labor comedy \u003cem>Sorry to Bother You\u003c/em> was shut out of Obama’s list. \u003c/p>\n\u003cp>Find Obama’s entire year-end list \u003ca href=\"https://www.facebook.com/barackobama/posts/10156393283416749?__tn__=K-R\">here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On November 1, a couple dozen artists, gallerists and nonprofit workers gathered to collaboratively envision an empty West Oakland building as a community art space.\u003c/p>\n\u003cp>There were speeches from property co-owner Shannon Jackson, a professor and the associate vice chancellor of arts and design at UC Berkeley, and employees of Community Arts Stabilization Trust (CAST), a nonprofit focused on the cultural sector. Attendees brainstormed in groups, responding to prompts such as, “What do you imagine being here?”\u003c/p>\n\u003cp>The event, hosted by CAST and Shannon and Jacqueline Jackson, was billed “Reimagining the Noodle Factory,” a reference to the property’s 2000s incarnation as a live-work complex and underground events space. But pieces of paper taped to the entrance obscured a sign for its tenant of the past six years, Skyhigh Odditorium. All night, the dance studio went conspicuously unmentioned.\u003c/p>\n\u003cfigure id=\"attachment_13847690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-800x533.jpg\" alt=\"A piece of paper taped to the entrance of the Noodle Factory obscured a sign for its most recent tenant, Skyhigh Odditorium.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A piece of paper taped to the entrance of the Noodle Factory obscured a sign for its most recent tenant, Skyhigh Odditorium. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The omission troubled Thomas Dolan, a live-work architect and advocate who’d visited Skyhigh as a safety consultant early last year. During the event, he worried that he’d been asked to reimagine an art space built on the back of another’s displacement. So he approached Jackson to ask about Skyhigh. \u003c/p>\n\u003cp>“She just told me it didn’t work out,” he recalled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Skyhigh Odditorium had been displaced three months prior, after the Jacksons, who bought the building last year, declined to renew its lease. (Jacqueline Jackson, Shannon Jackson’s business partner, is a North Bay realtor.) Skyhigh founder Madamn Burnz said the Jacksons’ property managers explained to her that the new owners planned to create an art space.\u003c/p>\n\u003cp>“I was extremely confused,” Burnz said. “What did they think we’d been doing there for six years?”\u003c/p>\n\u003cp>Burnz and a handful of Skyhigh instructors \u003ca href=\"http://skyhighodditorium.com/classes/\" target=\"_blank\" rel=\"noopener noreferrer\">offered classes\u003c/a> such as aerial and pole dancing to more than 60 students weekly in addition to hosting public events. There were offices and prop and music studios as well as a performance space. Now Burnz teaches out of a shared studio nearby.\u003c/p>\n\u003cfigure id=\"attachment_13847680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-800x567.jpg\" alt='San Francisco nonprofit Community Arts Stabilization Trust co-hosted \"Reimagining the Noodle Factory.\"' width=\"800\" height=\"567\" class=\"size-medium wp-image-13847680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-1200x851.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory.jpg 1241w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco nonprofit Community Arts Stabilization Trust co-hosted “Reimagining the Noodle Factory.”\u003c/figcaption>\u003c/figure>\n\u003cp>Lease termination after a property transaction isn’t unusual, especially with the intense demand for commercial space in Oakland. But Jackson doesn’t have a real-estate speculator’s credentials: she’s an extensively published \u003ca href=\"http://tdps.berkeley.edu/people/shannon-jackson/\" target=\"_blank\" rel=\"noopener noreferrer\">scholar\u003c/a> of art and social change with \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">close ties\u003c/a> to culture funders such as the Kenneth Rainin Foundation, which supports CAST.\u003c/p>\n\u003cp>\u003ca href=\"https://cast-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CAST\u003c/a> is known for developing property for arts uses. For example, the nonprofit offers subsidized rent with the option to buy to San Francisco organizations including Counterpulse and Luggage Store Gallery. CAST is also the City of Oakland’s partner in the grant initiative “Keeping Space,” and is currently working with officials to acquire property in Oakland for a multi-tenant arts and culture hub.\u003c/p>\n\u003cp>Burnz could understand being evicted by a baldly profit-seeking landlord. Instead she’s left wondering why a professional culture booster deemed her business undeserving of its longtime home. The reimagining event, with its cultural stabilization pretense, struck Burnz as a case of buzzwords belied by actions: Skyhigh Odditorium’s displacement involved some of the very same people now claiming to work for artists in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13847687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-800x600.jpg\" alt=\"Before its displacement, Skyhigh Odditorium offered classes such as aerial and pole dancing to more than 60 people weekly.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13847687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before its displacement, Skyhigh Odditorium offered classes such as aerial and pole dancing to more than 60 people weekly. \u003ccite>(Courtesy Skyhigh Odditorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CAST toured Skyhigh the week Burnz learned her lease wouldn’t be renewed. But Owen Levin, the nonprofit’s director of finance and operations, said CAST wasn’t involved in Jackson’s decision to displace Skyhigh. “CAST is not interested in evicting any artist from any space, and we’re not interested in helping any artist get displaced,” Levin said.\u003c/p>\n\u003cp>CAST’s obligation to Jackson, he continued, was limited to the meeting, but Levin left open the possibility of helping her find new tenants going forward. \u003c/p>\n\u003cp>“It’s not clear to me that it’d be of greater benefit to anyone for us not to work with the landlord,” he said.\u003c/p>\n\u003cp>Shannon Jackson declined multiple interview requests for this article. “We purchased the property with a specific mission about how we planned to use the space,” she wrote in an email. “Our goals for the Noodle Factory partnerships are to support arts and culture in the neighborhood the region, while also adhering to codes for health, fire and safety.”\u003c/p>\n\u003cp>Previous owners of the two-story building at 26th and Union streets harbored similar ambitions.\u003c/p>\n\u003cfigure id=\"attachment_13847685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-800x533.jpg\" alt=\"The Northern California Land Trust spent millions renovating the building.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Northern California Land Trust spent millions renovating the building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dana Harrison, a financier-turned-Burning Man Project employee, bought the property in 1999, and it became a \u003ca href=\"https://www.eastbayexpress.com/oakland/noodling-around/Content?oid=1091408\">regular venue\u003c/a> for underground parties as well as a residence to as many as 30 people. Daunted by the task of bringing the 19,000 square foot building to code, though, she bequeathed it to the Northern California Land Trust in 2005.\u003c/p>\n\u003cp>The land trust spent millions renovating the building, converting it into 11 live-work condos in addition to the 2,000 square foot performance space with a mezzanine and offices. Using an affordable housing stewardship model, the land trust marketed the units to low-income artists who would benefit from the onsite rehearsal and performance space. [contextly_sidebar id=”oRkcEOpH9R82LCxTdkDbAJiHd0tcqnDt”]\u003c/p>\n\u003cp>But the development \u003ca href=\"https://www.eastbayexpress.com/oakland/regaining-trust/Content?oid=2959560\">unraveled\u003c/a> after the subprime mortgage crisis, and in 2010 the property went into foreclosure. The land trust filed for bankruptcy, and in 2011 it sold the building to San Francisco real-estate firm Urban Green Investments. When Burnz leased the performance and office unit for Skyhigh in 2012, it was a neglected storage area. \u003c/p>\n\u003cp>Burnz, 35, whose given name is Laiya Baraka, landed in the Bay Area after traveling with a fire-eating troupe, and launched Skyhigh to accommodate her business as an instructor in aerial dancing and other circus arts. Early on, she redid the dilapidated floors and discarded truckloads of garbage. Eventually she subleased workspace to other artists.\u003c/p>\n\u003cp>Burnz got along with Urban Green. After three years, she signed a new lease, and the landlord installed a new kitchen. After the Jacksons bought the property last January for $3,730,000, Burnz was at first heartened to learn Shannon is a performing arts scholar. But the two of them never met. In a Mar. 1, 2018 email, a Lapham Company property manager told Burnz that the owners “are not interested in renewing your lease.”\u003c/p>\n\u003cfigure id=\"attachment_13847689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-800x533.jpg\" alt=\"Madamn Burnz now teaches out of shared studio near the former site of Skyhigh Odditorium.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madamn Burnz now teaches out of shared studio near the former site of Skyhigh Odditorium. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burnz solicited dozens of letters of support for Skyhigh, but the owners weren’t persuaded. (The live-work tenants in other units weren’t affected by the transition.) She unsuccessfully tried to find a comparable, similarly affordable space for her business. As the end of her lease drew near, she sought an extension. Through a lawyer, Jackson offered an additional month—at twice the rent. Burnz declined, and moved out July 1.\u003c/p>\n\u003cp>CAST’s community engagement and real-estate development staff toured the building on Mar. 7, but Levin said they had misgivings about the situation, and told Jackson as well as Burnz that they weren’t going to be involved. “They needed to work it out,” he said.\u003c/p>\n\u003cp>But once Skyhigh was gone, he continued, CAST agreed to “consult on the imagining.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Burnz only learned CAST was once again working with Jackson the night of the reimagining event in November, when she drove by and saw nonprofit staff talking to her former property managers outside the building. “I saw a balloon, and I was actually excited that someone had rented it for a party,” she said. “And then my heart sunk.”\u003c/p>\n\n",
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"title": "UC Berkeley Art Professor Displaces Dance Studio to Create New Art Space | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On November 1, a couple dozen artists, gallerists and nonprofit workers gathered to collaboratively envision an empty West Oakland building as a community art space.\u003c/p>\n\u003cp>There were speeches from property co-owner Shannon Jackson, a professor and the associate vice chancellor of arts and design at UC Berkeley, and employees of Community Arts Stabilization Trust (CAST), a nonprofit focused on the cultural sector. Attendees brainstormed in groups, responding to prompts such as, “What do you imagine being here?”\u003c/p>\n\u003cp>The event, hosted by CAST and Shannon and Jacqueline Jackson, was billed “Reimagining the Noodle Factory,” a reference to the property’s 2000s incarnation as a live-work complex and underground events space. But pieces of paper taped to the entrance obscured a sign for its tenant of the past six years, Skyhigh Odditorium. All night, the dance studio went conspicuously unmentioned.\u003c/p>\n\u003cfigure id=\"attachment_13847690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-800x533.jpg\" alt=\"A piece of paper taped to the entrance of the Noodle Factory obscured a sign for its most recent tenant, Skyhigh Odditorium.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A piece of paper taped to the entrance of the Noodle Factory obscured a sign for its most recent tenant, Skyhigh Odditorium. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The omission troubled Thomas Dolan, a live-work architect and advocate who’d visited Skyhigh as a safety consultant early last year. During the event, he worried that he’d been asked to reimagine an art space built on the back of another’s displacement. So he approached Jackson to ask about Skyhigh. \u003c/p>\n\u003cp>“She just told me it didn’t work out,” he recalled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Skyhigh Odditorium had been displaced three months prior, after the Jacksons, who bought the building last year, declined to renew its lease. (Jacqueline Jackson, Shannon Jackson’s business partner, is a North Bay realtor.) Skyhigh founder Madamn Burnz said the Jacksons’ property managers explained to her that the new owners planned to create an art space.\u003c/p>\n\u003cp>“I was extremely confused,” Burnz said. “What did they think we’d been doing there for six years?”\u003c/p>\n\u003cp>Burnz and a handful of Skyhigh instructors \u003ca href=\"http://skyhighodditorium.com/classes/\" target=\"_blank\" rel=\"noopener noreferrer\">offered classes\u003c/a> such as aerial and pole dancing to more than 60 students weekly in addition to hosting public events. There were offices and prop and music studios as well as a performance space. Now Burnz teaches out of a shared studio nearby.\u003c/p>\n\u003cfigure id=\"attachment_13847680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-800x567.jpg\" alt='San Francisco nonprofit Community Arts Stabilization Trust co-hosted \"Reimagining the Noodle Factory.\"' width=\"800\" height=\"567\" class=\"size-medium wp-image-13847680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-1200x851.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory.jpg 1241w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco nonprofit Community Arts Stabilization Trust co-hosted “Reimagining the Noodle Factory.”\u003c/figcaption>\u003c/figure>\n\u003cp>Lease termination after a property transaction isn’t unusual, especially with the intense demand for commercial space in Oakland. But Jackson doesn’t have a real-estate speculator’s credentials: she’s an extensively published \u003ca href=\"http://tdps.berkeley.edu/people/shannon-jackson/\" target=\"_blank\" rel=\"noopener noreferrer\">scholar\u003c/a> of art and social change with \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">close ties\u003c/a> to culture funders such as the Kenneth Rainin Foundation, which supports CAST.\u003c/p>\n\u003cp>\u003ca href=\"https://cast-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CAST\u003c/a> is known for developing property for arts uses. For example, the nonprofit offers subsidized rent with the option to buy to San Francisco organizations including Counterpulse and Luggage Store Gallery. CAST is also the City of Oakland’s partner in the grant initiative “Keeping Space,” and is currently working with officials to acquire property in Oakland for a multi-tenant arts and culture hub.\u003c/p>\n\u003cp>Burnz could understand being evicted by a baldly profit-seeking landlord. Instead she’s left wondering why a professional culture booster deemed her business undeserving of its longtime home. The reimagining event, with its cultural stabilization pretense, struck Burnz as a case of buzzwords belied by actions: Skyhigh Odditorium’s displacement involved some of the very same people now claiming to work for artists in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13847687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-800x600.jpg\" alt=\"Before its displacement, Skyhigh Odditorium offered classes such as aerial and pole dancing to more than 60 people weekly.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13847687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before its displacement, Skyhigh Odditorium offered classes such as aerial and pole dancing to more than 60 people weekly. \u003ccite>(Courtesy Skyhigh Odditorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CAST toured Skyhigh the week Burnz learned her lease wouldn’t be renewed. But Owen Levin, the nonprofit’s director of finance and operations, said CAST wasn’t involved in Jackson’s decision to displace Skyhigh. “CAST is not interested in evicting any artist from any space, and we’re not interested in helping any artist get displaced,” Levin said.\u003c/p>\n\u003cp>CAST’s obligation to Jackson, he continued, was limited to the meeting, but Levin left open the possibility of helping her find new tenants going forward. \u003c/p>\n\u003cp>“It’s not clear to me that it’d be of greater benefit to anyone for us not to work with the landlord,” he said.\u003c/p>\n\u003cp>Shannon Jackson declined multiple interview requests for this article. “We purchased the property with a specific mission about how we planned to use the space,” she wrote in an email. “Our goals for the Noodle Factory partnerships are to support arts and culture in the neighborhood the region, while also adhering to codes for health, fire and safety.”\u003c/p>\n\u003cp>Previous owners of the two-story building at 26th and Union streets harbored similar ambitions.\u003c/p>\n\u003cfigure id=\"attachment_13847685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-800x533.jpg\" alt=\"The Northern California Land Trust spent millions renovating the building.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Northern California Land Trust spent millions renovating the building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dana Harrison, a financier-turned-Burning Man Project employee, bought the property in 1999, and it became a \u003ca href=\"https://www.eastbayexpress.com/oakland/noodling-around/Content?oid=1091408\">regular venue\u003c/a> for underground parties as well as a residence to as many as 30 people. Daunted by the task of bringing the 19,000 square foot building to code, though, she bequeathed it to the Northern California Land Trust in 2005.\u003c/p>\n\u003cp>The land trust spent millions renovating the building, converting it into 11 live-work condos in addition to the 2,000 square foot performance space with a mezzanine and offices. Using an affordable housing stewardship model, the land trust marketed the units to low-income artists who would benefit from the onsite rehearsal and performance space. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But the development \u003ca href=\"https://www.eastbayexpress.com/oakland/regaining-trust/Content?oid=2959560\">unraveled\u003c/a> after the subprime mortgage crisis, and in 2010 the property went into foreclosure. The land trust filed for bankruptcy, and in 2011 it sold the building to San Francisco real-estate firm Urban Green Investments. When Burnz leased the performance and office unit for Skyhigh in 2012, it was a neglected storage area. \u003c/p>\n\u003cp>Burnz, 35, whose given name is Laiya Baraka, landed in the Bay Area after traveling with a fire-eating troupe, and launched Skyhigh to accommodate her business as an instructor in aerial dancing and other circus arts. Early on, she redid the dilapidated floors and discarded truckloads of garbage. Eventually she subleased workspace to other artists.\u003c/p>\n\u003cp>Burnz got along with Urban Green. After three years, she signed a new lease, and the landlord installed a new kitchen. After the Jacksons bought the property last January for $3,730,000, Burnz was at first heartened to learn Shannon is a performing arts scholar. But the two of them never met. In a Mar. 1, 2018 email, a Lapham Company property manager told Burnz that the owners “are not interested in renewing your lease.”\u003c/p>\n\u003cfigure id=\"attachment_13847689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-800x533.jpg\" alt=\"Madamn Burnz now teaches out of shared studio near the former site of Skyhigh Odditorium.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madamn Burnz now teaches out of shared studio near the former site of Skyhigh Odditorium. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burnz solicited dozens of letters of support for Skyhigh, but the owners weren’t persuaded. (The live-work tenants in other units weren’t affected by the transition.) She unsuccessfully tried to find a comparable, similarly affordable space for her business. As the end of her lease drew near, she sought an extension. Through a lawyer, Jackson offered an additional month—at twice the rent. Burnz declined, and moved out July 1.\u003c/p>\n\u003cp>CAST’s community engagement and real-estate development staff toured the building on Mar. 7, but Levin said they had misgivings about the situation, and told Jackson as well as Burnz that they weren’t going to be involved. “They needed to work it out,” he said.\u003c/p>\n\u003cp>But once Skyhigh was gone, he continued, CAST agreed to “consult on the imagining.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burnz only learned CAST was once again working with Jackson the night of the reimagining event in November, when she drove by and saw nonprofit staff talking to her former property managers outside the building. “I saw a balloon, and I was actually excited that someone had rented it for a party,” she said. “And then my heart sunk.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Hip-Hop Deserves That Respect': Honoring The Notorious B.I.G., Wu-Tang Clan In NYC",
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"headTitle": "‘Hip-Hop Deserves That Respect’: Honoring The Notorious B.I.G., Wu-Tang Clan In NYC | KQED",
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"content": "\u003cp>In one of its final acts of 2018, the New York City Council unanimously voted to name two streets after some of the city’s most legendary offspring: The Notorious B.I.G. (who was born Christopher Wallace) and Wu-Tang Clan.\u003c/p>\n\u003cp>Pending Mayor Bill de Blasio’s signature, Christopher Wallace Way would be located in Brooklyn and the Wu-Tang Clan District would be in Staten Island. The two naming initiatives were among dozens the council approved on Dec. 20, which also included streets to honor singer Woody Guthrie and poet Audre Lorde.\u003c/p>\n\u003cp>[contextly_sidebar id=”c94twHpYaF7reY50N9dYCnN6PviXgxqW”]\u003c/p>\n\u003cp>LeRoy McCarthy, a longtime New York City resident, led the naming effort to recognize the \u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\">Notorious B.I.G.\u003c/a>, who died in 1997, and \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">Wu-Tang Clan\u003c/a>. He tells NPR’s \u003cem>Morning Edition\u003c/em> he was inspired after reading a book on Wallace’s life and in 2013, began trying to convince city officials to create Christopher Wallace Way.\u003c/p>\n\u003cp>Official government recognition for hip-hop’s greats is long overdue, McCarthy says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a certain sense of dismissal for hip hop historically… they think it’s not worthy of being recognized of the recognition that you would give to classical music or jazz or rock and roll,” McCarthy says. “Hip-hop deserves that respect.”\u003c/p>\n\u003cp>[contextly_sidebar id=”cDnlVeMgAiiQ11zXP5wBivVqfQPiZKcc”]\u003c/p>\n\u003cp>This isn’t McCarthy’s first time pushing for recognition of hip-hop in public space. He also led the naming of Sylvia Robinson Place in New Jersey, which is dedicated to the founder of Sugar Hill Records, as well as Malik “Phife Dawg” Taylor Way in New York, which recognizes the late member of a Tribe Called Quest.\u003c/p>\n\u003cp>https://www.instagram.com/p/pPWUOuyjdZ/\u003c/p>\n\u003cp>Derek Alderman, professor of geography at the University of Tennessee, says that McCarthy’s campaign — and street naming more broadly — shapes the collective memory of a city’s past.\u003c/p>\n\u003cp>“[Street names] give us an idea of whose memories are important and the types of memories cities want to be identified with,” Alderman says. “As soon as you put a name on a street sign, you say something about the public importance of that individual.”\u003c/p>\n\u003cp>Alderman notes that public space throughout history has predominantly been named after white men, and that the addition of Christopher Wallace Way and Wu-Tang Clan District is a step toward a more inclusive cultural geography.\u003c/p>\n\u003cp>[contextly_sidebar id=”lFyO9BY6oSVY6kymfPE5sxToFHKjEonR”]\u003c/p>\n\u003cp>For McCarthy, there’s work left to be done. He’s proposed a street honoring the Beastie Boys in Manhattan and wants to assist an ongoing effort to recognize rapper Big Pun in the Bronx. Beyond the East Coast, McCarthy has his sights on Oakland, Calif., where he is looking to name a street after Tupac Shakur.\u003c/p>\n\u003cp>He says he hopes that young people in New York — he calls them the “hip-hop generation” — see themselves when they walk down the newly named roads.\u003c/p>\n\u003cp>“[I hope] people take pride in it and feel a sense of community and a part of themselves seeing these street signs up,” he says. “Just because you’re not the A+ student or a doctor or lawyer doesn’t mean you can’t feel proud of where you come from and see someone who looks like you honored in this way.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/680283885/680385295\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hip-Hop+Deserves+That+Respect%27%3A+Honoring+The+Notorious+B.I.G.%2C+Wu-Tang+Clan+In+NYC&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In one of its final acts of 2018, the New York City Council unanimously voted to name two streets after some of the city’s most legendary offspring: The Notorious B.I.G. (who was born Christopher Wallace) and Wu-Tang Clan.\u003c/p>\n\u003cp>Pending Mayor Bill de Blasio’s signature, Christopher Wallace Way would be located in Brooklyn and the Wu-Tang Clan District would be in Staten Island. The two naming initiatives were among dozens the council approved on Dec. 20, which also included streets to honor singer Woody Guthrie and poet Audre Lorde.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>LeRoy McCarthy, a longtime New York City resident, led the naming effort to recognize the \u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\">Notorious B.I.G.\u003c/a>, who died in 1997, and \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">Wu-Tang Clan\u003c/a>. He tells NPR’s \u003cem>Morning Edition\u003c/em> he was inspired after reading a book on Wallace’s life and in 2013, began trying to convince city officials to create Christopher Wallace Way.\u003c/p>\n\u003cp>Official government recognition for hip-hop’s greats is long overdue, McCarthy says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Derek Alderman, professor of geography at the University of Tennessee, says that McCarthy’s campaign — and street naming more broadly — shapes the collective memory of a city’s past.\u003c/p>\n\u003cp>“[Street names] give us an idea of whose memories are important and the types of memories cities want to be identified with,” Alderman says. “As soon as you put a name on a street sign, you say something about the public importance of that individual.”\u003c/p>\n\u003cp>Alderman notes that public space throughout history has predominantly been named after white men, and that the addition of Christopher Wallace Way and Wu-Tang Clan District is a step toward a more inclusive cultural geography.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For McCarthy, there’s work left to be done. He’s proposed a street honoring the Beastie Boys in Manhattan and wants to assist an ongoing effort to recognize rapper Big Pun in the Bronx. Beyond the East Coast, McCarthy has his sights on Oakland, Calif., where he is looking to name a street after Tupac Shakur.\u003c/p>\n\u003cp>He says he hopes that young people in New York — he calls them the “hip-hop generation” — see themselves when they walk down the newly named roads.\u003c/p>\n\u003cp>“[I hope] people take pride in it and feel a sense of community and a part of themselves seeing these street signs up,” he says. “Just because you’re not the A+ student or a doctor or lawyer doesn’t mean you can’t feel proud of where you come from and see someone who looks like you honored in this way.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/680283885/680385295\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hip-Hop+Deserves+That+Respect%27%3A+Honoring+The+Notorious+B.I.G.%2C+Wu-Tang+Clan+In+NYC&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a year of big headlines, \u003cem>Fresh Air\u003c/em> continued to dive deep, broadcasting in-depth interviews on topics that ranged from the \u003ca href=\"https://www.npr.org/2018/08/01/634456181/scientists-are-spying-on-whales-to-learn-how-they-eat-talk-and-walked\">magnificent\u003c/a> to the \u003ca href=\"https://www.npr.org/sections/health-shots/2018/11/12/666933600/counting-the-bugs-and-bacteria-youre-never-home-alone-and-thats-ok\">microscopic\u003c/a>. We spoke with \u003ca href=\"https://www.npr.org/sections/health-shots/2018/01/02/575055148/neuroscientist-predicts-much-better-treatment-for-alzheimers-is-10-years-away\">scientists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/03/06/591130207/journalist-charts-the-bizarre-twists-and-turns-of-the-trump-russia-dossier\">journalists\u003c/a>, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2018/09/04/644498267/after-her-cousins-honor-killing-khalida-brohi-became-a-womens-rights-activist\">activists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/10/656118568/first-man-director-armstrongs-moon-walk-is-a-story-of-coping-and-grief\">filmmakers\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/20/669573056/dawn-wall-climbers-gripped-razor-thin-edges-up-el-capitans-impossible-face\">two free climbers\u003c/a> who conquered a surface on Yosemite’s El Capitan that was once thought impenetrable. Our conversations with \u003ca href=\"https://www.npr.org/2018/04/17/602849276/james-comey-to-fresh-air-the-fbi-isnt-on-anybodys-side\">James Comey\u003c/a> and \u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">Bob Woodward\u003c/a> gave us a deeper understanding of the Trump presidency.\u003c/p>\n\u003cp>When we looked at the numbers, we found the most clicked-upon interview of the year was with former Secretary of State Madeleine Albright, who warned of a rise of authoritarianism worldwide.\u003c/p>\n\u003cp>You’ll find that conversation, and many more, in this list of the 10 most popular \u003cem>Fresh Air \u003c/em>interviews of 2018:\u003c/p>\n\u003cp>\u003cstrong>1. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/03/599120190/madeleine-albright-warns-dont-let-fascism-go-unnoticed-until-its-too-late\">\u003cstrong>Madeleine Albright Warns: Don’t Let Fascism Go ‘Unnoticed Until It’s Too Late’\u003c/strong>\u003c/a> The former secretary of state describes President Trump as “the most anti-democratic leader that I have studied in American history.” Albright’s new book is \u003cem>Fascism: A Warning.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>2. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/05/01/607262463/comic-michelle-wolf-responds-to-backlash-im-glad-i-stuck-to-my-guns\">\u003cstrong>Comic Michelle Wolf Responds To Backlash: ‘I’m Glad I Stuck To My Guns’\u003c/strong>\u003c/a> Though critics argued that the comedian’s barbed monologue at this year’s White House Correspondents’ Dinner was too pointed, in this exclusive interview, Wolf stood by her set: “I wouldn’t change a single word.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>3. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/07/11/628000131/once-militantly-anti-abortion-evangelical-minister-now-lives-with-regret\">\u003cstrong>Once Militantly Anti-Abortion, Evangelical Minister Now Lives ‘With Regret’\u003c/strong>\u003c/a> After decades working to block access to clinics, the Rev. Rob Schenck says he had a change of heart and sees abortion as an issue that should be resolved by “an individual and his or her conscience.”\u003c/p>\n\u003cp>\u003cstrong>4. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/12/601783346/first-ever-evictions-database-shows-were-in-the-middle-of-a-housing-crisis\">\u003cstrong>First-Ever Evictions Database Shows: ‘We’re In the Middle Of A Housing Crisis’\u003c/strong>\u003c/a> Matthew Desmond estimates that 2.3 million evictions were filed in the U.S. in 2016 — a rate of four every minute. “Eviction isn’t just a condition of poverty; it’s a cause of poverty,” he says.\u003c/p>\n\u003cp>\u003cstrong>5. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/05/15/611225541/reluctant-psychonaut-michael-pollan-embraces-the-new-science-of-psychedelics\">\u003cstrong>Reluctant Psychonaut’ Michael Pollan Embraces The ‘New Science’ Of Psychedelics\u003c/strong>\u003c/a> Author Michael Pollan, who experimented with mushrooms, LSD and other psychedelics while researching his latest book, says: “I had an experience that was by turns frightening and ecstatic and weird.”\u003c/p>\n\u003cp>\u003cstrong>6. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/03/07/591457135/john-oliver-finds-humor-in-the-news-no-one-wants-to-hear-about\">\u003cstrong>John Oliver Finds Humor In The News No One Wants To Hear About\u003c/strong>\u003c/a> On \u003cem>Last Week Tonight, \u003c/em>Oliver dives into often obscure stories, like NRATV and the laws that govern televangelism. He describes the show’s style as “the slowest improv you’ve ever seen.”\u003c/p>\n\u003cp>\u003cstrong>7. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/18/648737143/memoirist-evangelical-purity-movement-sees-womens-bodies-as-a-threat\">\u003cstrong>Memoirist: Evangelical Purity Movement Sees Women’s Bodies As A ‘Threat’\u003c/strong>\u003c/a> In \u003cem>Pure\u003c/em>, Linda Kay Klein reflects on the “deep, long-lasting shame” caused by churches that claim women and girls are responsible for the sexual desires of men.\u003c/p>\n\u003cp>\u003cstrong>8. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">\u003cstrong>Bob Woodward: ‘People Need To Wake Up’ To What’s Happening Under Trump\u003c/strong>\u003c/a> The veteran journalist was shocked by the tactics White House staff use to circumvent Trump: “I’ve never heard in any way of staff going around a president this way.” Woodward’s latest book is \u003cem>Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>9. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/02/20/587244230/memoirist-retraces-her-journey-from-survivalist-childhood-to-cambridge-ph-d\">\u003cstrong>Memoirist Retraces Her Journey From Survivalist Childhood To Cambridge Ph.D.\u003c/strong>\u003c/a> Growing up, Tara Westover had no birth certificate, never saw a doctor and didn’t go to school. She writes about her awkward transition into the mainstream in \u003cem>Educated: A Memoir\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>10. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/03/27/597159133/how-bad-medicine-dismisses-and-misdiagnoses-womens-symptoms\">\u003cstrong>How ‘Bad Medicine’ Dismisses And Misdiagnoses Women’s Symptoms\u003c/strong>\u003c/a> Journalist Maya Dusenbery argues that medicine has a “systemic and unconscious bias” against women that is rooted in “what doctors, regardless of their own gender, are learning in medical schools.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Case+You+Missed+%27Em%3A+The+10+Most+Popular+%27Fresh+Air%27+Interviews+Of+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a year of big headlines, \u003cem>Fresh Air\u003c/em> continued to dive deep, broadcasting in-depth interviews on topics that ranged from the \u003ca href=\"https://www.npr.org/2018/08/01/634456181/scientists-are-spying-on-whales-to-learn-how-they-eat-talk-and-walked\">magnificent\u003c/a> to the \u003ca href=\"https://www.npr.org/sections/health-shots/2018/11/12/666933600/counting-the-bugs-and-bacteria-youre-never-home-alone-and-thats-ok\">microscopic\u003c/a>. We spoke with \u003ca href=\"https://www.npr.org/sections/health-shots/2018/01/02/575055148/neuroscientist-predicts-much-better-treatment-for-alzheimers-is-10-years-away\">scientists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/03/06/591130207/journalist-charts-the-bizarre-twists-and-turns-of-the-trump-russia-dossier\">journalists\u003c/a>, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2018/09/04/644498267/after-her-cousins-honor-killing-khalida-brohi-became-a-womens-rights-activist\">activists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/10/656118568/first-man-director-armstrongs-moon-walk-is-a-story-of-coping-and-grief\">filmmakers\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/20/669573056/dawn-wall-climbers-gripped-razor-thin-edges-up-el-capitans-impossible-face\">two free climbers\u003c/a> who conquered a surface on Yosemite’s El Capitan that was once thought impenetrable. Our conversations with \u003ca href=\"https://www.npr.org/2018/04/17/602849276/james-comey-to-fresh-air-the-fbi-isnt-on-anybodys-side\">James Comey\u003c/a> and \u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">Bob Woodward\u003c/a> gave us a deeper understanding of the Trump presidency.\u003c/p>\n\u003cp>When we looked at the numbers, we found the most clicked-upon interview of the year was with former Secretary of State Madeleine Albright, who warned of a rise of authoritarianism worldwide.\u003c/p>\n\u003cp>You’ll find that conversation, and many more, in this list of the 10 most popular \u003cem>Fresh Air \u003c/em>interviews of 2018:\u003c/p>\n\u003cp>\u003cstrong>1. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/03/599120190/madeleine-albright-warns-dont-let-fascism-go-unnoticed-until-its-too-late\">\u003cstrong>Madeleine Albright Warns: Don’t Let Fascism Go ‘Unnoticed Until It’s Too Late’\u003c/strong>\u003c/a> The former secretary of state describes President Trump as “the most anti-democratic leader that I have studied in American history.” Albright’s new book is \u003cem>Fascism: A Warning.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>2. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/05/01/607262463/comic-michelle-wolf-responds-to-backlash-im-glad-i-stuck-to-my-guns\">\u003cstrong>Comic Michelle Wolf Responds To Backlash: ‘I’m Glad I Stuck To My Guns’\u003c/strong>\u003c/a> Though critics argued that the comedian’s barbed monologue at this year’s White House Correspondents’ Dinner was too pointed, in this exclusive interview, Wolf stood by her set: “I wouldn’t change a single word.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>3. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/07/11/628000131/once-militantly-anti-abortion-evangelical-minister-now-lives-with-regret\">\u003cstrong>Once Militantly Anti-Abortion, Evangelical Minister Now Lives ‘With Regret’\u003c/strong>\u003c/a> After decades working to block access to clinics, the Rev. Rob Schenck says he had a change of heart and sees abortion as an issue that should be resolved by “an individual and his or her conscience.”\u003c/p>\n\u003cp>\u003cstrong>4. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/12/601783346/first-ever-evictions-database-shows-were-in-the-middle-of-a-housing-crisis\">\u003cstrong>First-Ever Evictions Database Shows: ‘We’re In the Middle Of A Housing Crisis’\u003c/strong>\u003c/a> Matthew Desmond estimates that 2.3 million evictions were filed in the U.S. in 2016 — a rate of four every minute. “Eviction isn’t just a condition of poverty; it’s a cause of poverty,” he says.\u003c/p>\n\u003cp>\u003cstrong>5. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/05/15/611225541/reluctant-psychonaut-michael-pollan-embraces-the-new-science-of-psychedelics\">\u003cstrong>Reluctant Psychonaut’ Michael Pollan Embraces The ‘New Science’ Of Psychedelics\u003c/strong>\u003c/a> Author Michael Pollan, who experimented with mushrooms, LSD and other psychedelics while researching his latest book, says: “I had an experience that was by turns frightening and ecstatic and weird.”\u003c/p>\n\u003cp>\u003cstrong>6. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/03/07/591457135/john-oliver-finds-humor-in-the-news-no-one-wants-to-hear-about\">\u003cstrong>John Oliver Finds Humor In The News No One Wants To Hear About\u003c/strong>\u003c/a> On \u003cem>Last Week Tonight, \u003c/em>Oliver dives into often obscure stories, like NRATV and the laws that govern televangelism. He describes the show’s style as “the slowest improv you’ve ever seen.”\u003c/p>\n\u003cp>\u003cstrong>7. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/18/648737143/memoirist-evangelical-purity-movement-sees-womens-bodies-as-a-threat\">\u003cstrong>Memoirist: Evangelical Purity Movement Sees Women’s Bodies As A ‘Threat’\u003c/strong>\u003c/a> In \u003cem>Pure\u003c/em>, Linda Kay Klein reflects on the “deep, long-lasting shame” caused by churches that claim women and girls are responsible for the sexual desires of men.\u003c/p>\n\u003cp>\u003cstrong>8. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">\u003cstrong>Bob Woodward: ‘People Need To Wake Up’ To What’s Happening Under Trump\u003c/strong>\u003c/a> The veteran journalist was shocked by the tactics White House staff use to circumvent Trump: “I’ve never heard in any way of staff going around a president this way.” Woodward’s latest book is \u003cem>Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>9. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/02/20/587244230/memoirist-retraces-her-journey-from-survivalist-childhood-to-cambridge-ph-d\">\u003cstrong>Memoirist Retraces Her Journey From Survivalist Childhood To Cambridge Ph.D.\u003c/strong>\u003c/a> Growing up, Tara Westover had no birth certificate, never saw a doctor and didn’t go to school. She writes about her awkward transition into the mainstream in \u003cem>Educated: A Memoir\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>10. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/03/27/597159133/how-bad-medicine-dismisses-and-misdiagnoses-womens-symptoms\">\u003cstrong>How ‘Bad Medicine’ Dismisses And Misdiagnoses Women’s Symptoms\u003c/strong>\u003c/a> Journalist Maya Dusenbery argues that medicine has a “systemic and unconscious bias” against women that is rooted in “what doctors, regardless of their own gender, are learning in medical schools.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Case+You+Missed+%27Em%3A+The+10+Most+Popular+%27Fresh+Air%27+Interviews+Of+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dear Oscar Grant: KQED Invites You to Share Your Reflections",
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"content": "\u003cp>Oscar Grant’s death on Jan. 1, 2009 forever shifted the discourse surrounding police brutality, catalyzing a nationwide movement for racial justice.\u003c/p>\n\u003cp>To mark the 10th anniversary of his death, we want to hear from you. Through the first week of January, KQED Arts will provide a platform for respectful reflection. We invite you to share how Oscar Grant’s life—and death—impacted your life, changed your perspective, your family and your community.\u003c/p>\n\u003cp>Did it affect your views on law enforcement? What changes do you wish had come as a result of the shooting? Did it inspire you to take action?\u003c/p>\n\u003cp>We invite you to share your reflections by writing a message to Oscar Grant, whether it’s just a sentence or a full letter. If you could tell him anything 10 years after his death, what would you say?\u003c/p>\n\u003cp>You can read a sample letter from KQED Arts’ Pendarvis Harshaw \u003ca href=\"https://ww2.kqed.org/arts/2018/12/19/a-letter-to-oscar-grant/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Here’s how:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Address your message with “Dear Oscar Grant” using the form below (it’s also accessible here: \u003ca href=\"http://bit.ly/DearOscarGrantForm\" target=\"_blank\" rel=\"noopener\">bit.ly/DearOscarGrantForm\u003c/a>).\u003c/li>\n\u003cli>Leave a voicemail or text your thoughts to our private KQED hotline at (510) 853-9328, with your message, name and city.\u003c/li>\n\u003c/ul>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://docs.google.com/forms/d/e/1FAIpQLSdkqTVTSTztTgY_qo1elUCyT3sk4G7KFNz0z_MCbZVakfEq8w/viewform?embedded=true\" width=\"800\" height=\"1000\" frameborder=\"0\" marginheight=\"0\" 0=\"marginwidth="0">Loading...</iframe\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Privacy notice:\u003c/strong> KQED is gathering these stories for our reporting and Oscar’s family, and will not share your information with third parties. Your contact information will not be published, but we may contact you to expand your response into an audio segment or story. We may also feature your reflections on KQED’s website, social media or air. By submitting, you give KQED permission to edit your letter for clarity and length. Contributors must be over the age of 13. We welcome responses from youth ages 13–18, but they will require parent and/or teacher permission.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oscar Grant’s death on Jan. 1, 2009 forever shifted the discourse surrounding police brutality, catalyzing a nationwide movement for racial justice.\u003c/p>\n\u003cp>To mark the 10th anniversary of his death, we want to hear from you. Through the first week of January, KQED Arts will provide a platform for respectful reflection. We invite you to share how Oscar Grant’s life—and death—impacted your life, changed your perspective, your family and your community.\u003c/p>\n\u003cp>Did it affect your views on law enforcement? What changes do you wish had come as a result of the shooting? Did it inspire you to take action?\u003c/p>\n\u003cp>We invite you to share your reflections by writing a message to Oscar Grant, whether it’s just a sentence or a full letter. If you could tell him anything 10 years after his death, what would you say?\u003c/p>\n\u003cp>You can read a sample letter from KQED Arts’ Pendarvis Harshaw \u003ca href=\"https://ww2.kqed.org/arts/2018/12/19/a-letter-to-oscar-grant/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Here’s how:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Address your message with “Dear Oscar Grant” using the form below (it’s also accessible here: \u003ca href=\"http://bit.ly/DearOscarGrantForm\" target=\"_blank\" rel=\"noopener\">bit.ly/DearOscarGrantForm\u003c/a>).\u003c/li>\n\u003cli>Leave a voicemail or text your thoughts to our private KQED hotline at (510) 853-9328, with your message, name and city.\u003c/li>\n\u003c/ul>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://docs.google.com/forms/d/e/1FAIpQLSdkqTVTSTztTgY_qo1elUCyT3sk4G7KFNz0z_MCbZVakfEq8w/viewform?embedded=true\" width=\"800\" height=\"1000\" frameborder=\"0\" marginheight=\"0\" 0=\"marginwidth="0">Loading...</iframe\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Privacy notice:\u003c/strong> KQED is gathering these stories for our reporting and Oscar’s family, and will not share your information with third parties. Your contact information will not be published, but we may contact you to expand your response into an audio segment or story. We may also feature your reflections on KQED’s website, social media or air. By submitting, you give KQED permission to edit your letter for clarity and length. Contributors must be over the age of 13. We welcome responses from youth ages 13–18, but they will require parent and/or teacher permission.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Oscar Grant’s death on Jan. 1, 2009 forever shifted the discourse surrounding police brutality, catalyzing a nationwide movement for racial justice. Below is a letter to Oscar from \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, KQED Arts columnist. \u003ca href=\"https://ww2.kqed.org/arts/2018/12/19/dear-oscar-grant/\" target=\"_blank\" rel=\"noopener noreferrer\">Click here\u003c/a> to add your own reflection.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Dear Oscar Grant,\u003c/strong>\u003c/p>\n\u003cp>Peace bro.\u003c/p>\n\u003cp>The significance of your life isn’t lost on me.\u003c/p>\n\u003cp>You were a human. A son, father and nephew. And unfortunately, a casualty of an American war.\u003c/p>\n\u003cp>Filed under police brutality somewhere between Rodney King and Mike Brown, your story stood out because social media carried the cell phone footage of you getting gunned down on a platform by a guy in uniform—by far not the first of its form.\u003c/p>\n\u003cp>Something that we all knew went on, but seeing the visual… man, the visual.\u003c/p>\n\u003cp>I saw it 10 years ago, and if I never saw it again, I’d still never forget.\u003c/p>\n\u003cp>It’s disgusting that your life, as well as the lives of so many others before you and after you, were cut short by law enforcement officials of all sorts. A decade later and little, if anything, has changed—including my reverence for your story. It’s a significant piece of this dark and twisted thing we call American history.\u003c/p>\n\u003cp>P.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Oscar Grant’s death on Jan. 1, 2009 forever shifted the discourse surrounding police brutality, catalyzing a nationwide movement for racial justice. Below is a letter to Oscar from \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, KQED Arts columnist. \u003ca href=\"https://ww2.kqed.org/arts/2018/12/19/dear-oscar-grant/\" target=\"_blank\" rel=\"noopener noreferrer\">Click here\u003c/a> to add your own reflection.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Dear Oscar Grant,\u003c/strong>\u003c/p>\n\u003cp>Peace bro.\u003c/p>\n\u003cp>The significance of your life isn’t lost on me.\u003c/p>\n\u003cp>You were a human. A son, father and nephew. And unfortunately, a casualty of an American war.\u003c/p>\n\u003cp>Filed under police brutality somewhere between Rodney King and Mike Brown, your story stood out because social media carried the cell phone footage of you getting gunned down on a platform by a guy in uniform—by far not the first of its form.\u003c/p>\n\u003cp>Something that we all knew went on, but seeing the visual… man, the visual.\u003c/p>\n\u003cp>I saw it 10 years ago, and if I never saw it again, I’d still never forget.\u003c/p>\n\u003cp>It’s disgusting that your life, as well as the lives of so many others before you and after you, were cut short by law enforcement officials of all sorts. A decade later and little, if anything, has changed—including my reverence for your story. It’s a significant piece of this dark and twisted thing we call American history.\u003c/p>\n\u003cp>P.\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 2:58 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Penny Marshall, who became a household name as Laverne in the TV sitcom \u003cem>Laverne & Shirley\u003c/em> and went on to direct several popular movies, has died at the age of 75.\u003c/p>\n\u003cp>Marshall died Monday night at her Los Angeles home from complications of diabetes, family publicist Michelle Bega tells NPR.\u003c/p>\n\u003cp>In the early ’70s, Marshall got her start on shows like \u003cem>The Odd Couple\u003c/em> and \u003cem>The Bob Newhart Show\u003c/em>. She built her fame co-starring with Cindy Williams in \u003cem>Laverne & Shirley\u003c/em>, the popular sitcom created by her older brother, Garry Marshall (as was \u003cem>The Odd Couple\u003c/em>).\u003c/p>\n\u003cp>The \u003cem>Happy Days\u003c/em> spinoff series was also where she began her directing career, directing several episodes of the show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the late ’80s, Marshall made the leap from small-screen actress to big-screen director.\u003c/p>\n\u003cp>She directed \u003cem>Big\u003c/em>, starring Tom Hanks as a boy in a man’s body, and \u003cem>A League of Their Own\u003c/em>, based on the true story of a professional women’s baseball league in the 1940s.\u003c/p>\n\u003cp>Then, as now, film directing was a male-dominated field. In 1992, NPR reported that women made up just 10 percent of the membership of the Directors Guild, even as successful movies like Marshall’s drew attention—\u003cem>Big\u003c/em> was the first film from a female director to top $100 million at the box office.\u003c/p>\n\u003cp>Director Ava DuVernay remembered Marshall on Twitter on Tuesday, \u003ca href=\"https://twitter.com/ava/status/1075107218758918144\" target=\"_blank\" rel=\"noopener\">thanking her\u003c/a> “for the trails you blazed. The laughs you gave. The hearts you warmed.”\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences, the body that awards the Oscars, also \u003ca href=\"https://twitter.com/TheAcademy/status/1075113129388822528\" target=\"_blank\" rel=\"noopener\">remembered\u003c/a> Marshall on Twitter, calling her “one of the greats.”\u003c/p>\n\u003cp>In life, Marshall was \u003ca href=\"https://filmschoolrejects.com/the-losers-penny-marshall-should-have-won-an-oscar-da16c3f2bec0/\">never nominated for an Oscar\u003c/a>—not even when her film \u003cem>Awakenings\u003c/em> was in the running for Best Picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Marshall’s work on \u003cem>Laverne & Shirley\u003c/em> was also never recognized with an Emmy nomination, as The Hollywood Reporter \u003ca href=\"https://www.hollywoodreporter.com/news/penny-marshall-dead-laverne-shirley-star-75-686405\" target=\"_blank\" rel=\"noopener\">notes with astonishment.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Penny+Marshall%2C+Filmmaker+And+%27Laverne+%26+Shirley%27+Star%2C+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:58 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Penny Marshall, who became a household name as Laverne in the TV sitcom \u003cem>Laverne & Shirley\u003c/em> and went on to direct several popular movies, has died at the age of 75.\u003c/p>\n\u003cp>Marshall died Monday night at her Los Angeles home from complications of diabetes, family publicist Michelle Bega tells NPR.\u003c/p>\n\u003cp>In the early ’70s, Marshall got her start on shows like \u003cem>The Odd Couple\u003c/em> and \u003cem>The Bob Newhart Show\u003c/em>. She built her fame co-starring with Cindy Williams in \u003cem>Laverne & Shirley\u003c/em>, the popular sitcom created by her older brother, Garry Marshall (as was \u003cem>The Odd Couple\u003c/em>).\u003c/p>\n\u003cp>The \u003cem>Happy Days\u003c/em> spinoff series was also where she began her directing career, directing several episodes of the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the late ’80s, Marshall made the leap from small-screen actress to big-screen director.\u003c/p>\n\u003cp>She directed \u003cem>Big\u003c/em>, starring Tom Hanks as a boy in a man’s body, and \u003cem>A League of Their Own\u003c/em>, based on the true story of a professional women’s baseball league in the 1940s.\u003c/p>\n\u003cp>Then, as now, film directing was a male-dominated field. In 1992, NPR reported that women made up just 10 percent of the membership of the Directors Guild, even as successful movies like Marshall’s drew attention—\u003cem>Big\u003c/em> was the first film from a female director to top $100 million at the box office.\u003c/p>\n\u003cp>Director Ava DuVernay remembered Marshall on Twitter on Tuesday, \u003ca href=\"https://twitter.com/ava/status/1075107218758918144\" target=\"_blank\" rel=\"noopener\">thanking her\u003c/a> “for the trails you blazed. The laughs you gave. The hearts you warmed.”\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences, the body that awards the Oscars, also \u003ca href=\"https://twitter.com/TheAcademy/status/1075113129388822528\" target=\"_blank\" rel=\"noopener\">remembered\u003c/a> Marshall on Twitter, calling her “one of the greats.”\u003c/p>\n\u003cp>In life, Marshall was \u003ca href=\"https://filmschoolrejects.com/the-losers-penny-marshall-should-have-won-an-oscar-da16c3f2bec0/\">never nominated for an Oscar\u003c/a>—not even when her film \u003cem>Awakenings\u003c/em> was in the running for Best Picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Marshall’s work on \u003cem>Laverne & Shirley\u003c/em> was also never recognized with an Emmy nomination, as The Hollywood Reporter \u003ca href=\"https://www.hollywoodreporter.com/news/penny-marshall-dead-laverne-shirley-star-75-686405\" target=\"_blank\" rel=\"noopener\">notes with astonishment.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Penny+Marshall%2C+Filmmaker+And+%27Laverne+%26+Shirley%27+Star%2C+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last month, Oakland’s Vessel Gallery shuttered after landlord Matthew Iglehart \u003ca href=\"https://www.kqed.org/arts/13843911/vessel-gallery-oakland-art-murmur-fixture-to-close-following-lease-termination\">declined to renew\u003c/a> the Oakland Art Murmur fixture’s lease, saying through his property management company that he wanted to take his buildings in “another direction”—a chilling message for his many other gallerist tenants on 25th Street.\u003c/p>\n\u003cp>Now, however, KQED has learned that Local Language, a commercial art fabrication studio located next door in another Iglehart property, will expand into the upstairs space previously occupied by Vessel.\u003c/p>\n\u003cp>Local Language proprietor Jordan Bunnell said he leased the space in October, shortly after Vessel proprietor Lonnie Lee learned of her imminent displacement, but that he’d been working with Reynolds & Brown, the management company representing Iglehart’s properties in the area, for months prior. [contextly_sidebar id=”k12f3nT4p6nq3DawK8nFaO932uiSDaRT”]\u003c/p>\n\u003cp>Bunnell said he regrets Vessel’s displacement, calling the gallery an “anchor,” but he’s relieved not to have to move Local Language altogether. “When we announced the expansion to our staff, one of the first things we said was losing a space like Vessel, the creative community really suffers,” he said. \u003c/p>\n\u003cp>Although Bunnell declined to detail the terms of his lease, Lee suspects the space’s transition from exhibition to commercial fabrication space reflects the owner’s desire to increase rental revenue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Iglehart didn’t respond to an interview request for this report, but he previously said in a statement to KQED that he remains “interested in supporting creative people and business in Oakland.” Lee received “courtesy” emails from both Bunnell and Reynolds & Brown about Local Language’s lease on Nov. 6.\u003c/p>\n\u003cp>“That was an interesting neighborly gesture,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13847084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-800x600.jpg\" alt=\"Vessel Gallery proprietor Lonnie Lee is seeking a new brick-and-mortar.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13847084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vessel Gallery proprietor Lonnie Lee is seeking a new brick-and-mortar. \u003ccite>(Courtesy Vessel Gallery )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bunnell moved to Oakland in 2009 and opened \u003ca href=\"https://www.locallanguageart.com/\">Local Language\u003c/a> in 2015, specializing in “curating art collections for corporate, hospitality, healthcare, and residential environments around the US & Canada.” Clients such as Marriott and Hyatt generally commission the company, which employs fabricators in Oakland and subcontracts with artists around the country, to create artwork for common areas and offices. (One project description in the “open call” section of Local Language’s website reads, “Hill country vibes meets tech / modern!”)\u003c/p>\n\u003cp>Local Language also has artist residency and exhibition programs underwritten by the commercial work, but Bunnell said the former Vessel space will be dedicated to fabrication. Asked about the appearance of his business seizing on or hastening Vessel’s ouster, Bunnell said he hasn’t encountered that criticism. \u003c/p>\n\u003cp>He added, “We’re definitely on the side of ‘losing art spaces is a bad thing.’” \u003c/p>\n\u003cp>Since leaving the former hayloft she originally leased and renovated in 2010, Lee has been searching for a new brick-and-mortar gallery while continuing to work with dozens of artists \u003ca href=\"https://www.vessel-gallery.com/\">Vessel\u003c/a> still represents. In her first week at her interim office, for example, Lee placed a work by Oakland artist Iris Polos, \u003cem>Narcissus, the Prince and the Frog\u003c/em>, in the permanent collection at Berkeley Art Museum & Pacific Film Archive. \u003c/p>\n\u003cfigure id=\"attachment_13843961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-800x450.jpg\" alt=\"Lonnie Lee, director and curator at Vessel Gallery. Lee's landlord declined to renew the Oakland gallery's lease, citing a desire to take the building in a "different direction." \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13843961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Lee, director and curator at Vessel Gallery. Lee’s landlord declined to renew the Oakland gallery’s lease, citing a desire to take the building in a “different direction.” \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To find a new location, Lee is working with Oakland City Councilmember Lynette Gibson-McElhaney’s office as well Kelley Kahn, the city’s policy director for art spaces. Kahn is optimistic that incoming mixed-use developments in the neighborhood can accommodate displaced galleries and nonprofits. \u003c/p>\n\u003cp>“We will work hard to find them a new space in Oakland, connecting them with property owners and real-estate developers that see the value in making space for Oakland’s arts and culture,” Kahn said. \u003c/p>\n\u003cp>Beginning in 2014, Lee organized neighboring gallerists to pressure elected officials to formally recognize the Uptown Arts District, hoping the designation would begin fortifying its many cultural resources against rising rent and redevelopment. Oakland City Council eventually scuttled the resolution entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The last founding Art Murmur participant, Rock Paper Scissors, closed its Telegraph Avenue gallery after a rent hike in 2015. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, Oakland’s Vessel Gallery shuttered after landlord Matthew Iglehart \u003ca href=\"https://www.kqed.org/arts/13843911/vessel-gallery-oakland-art-murmur-fixture-to-close-following-lease-termination\">declined to renew\u003c/a> the Oakland Art Murmur fixture’s lease, saying through his property management company that he wanted to take his buildings in “another direction”—a chilling message for his many other gallerist tenants on 25th Street.\u003c/p>\n\u003cp>Now, however, KQED has learned that Local Language, a commercial art fabrication studio located next door in another Iglehart property, will expand into the upstairs space previously occupied by Vessel.\u003c/p>\n\u003cp>Local Language proprietor Jordan Bunnell said he leased the space in October, shortly after Vessel proprietor Lonnie Lee learned of her imminent displacement, but that he’d been working with Reynolds & Brown, the management company representing Iglehart’s properties in the area, for months prior. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bunnell said he regrets Vessel’s displacement, calling the gallery an “anchor,” but he’s relieved not to have to move Local Language altogether. “When we announced the expansion to our staff, one of the first things we said was losing a space like Vessel, the creative community really suffers,” he said. \u003c/p>\n\u003cp>Although Bunnell declined to detail the terms of his lease, Lee suspects the space’s transition from exhibition to commercial fabrication space reflects the owner’s desire to increase rental revenue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Iglehart didn’t respond to an interview request for this report, but he previously said in a statement to KQED that he remains “interested in supporting creative people and business in Oakland.” Lee received “courtesy” emails from both Bunnell and Reynolds & Brown about Local Language’s lease on Nov. 6.\u003c/p>\n\u003cp>“That was an interesting neighborly gesture,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13847084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-800x600.jpg\" alt=\"Vessel Gallery proprietor Lonnie Lee is seeking a new brick-and-mortar.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13847084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vessel Gallery proprietor Lonnie Lee is seeking a new brick-and-mortar. \u003ccite>(Courtesy Vessel Gallery )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bunnell moved to Oakland in 2009 and opened \u003ca href=\"https://www.locallanguageart.com/\">Local Language\u003c/a> in 2015, specializing in “curating art collections for corporate, hospitality, healthcare, and residential environments around the US & Canada.” Clients such as Marriott and Hyatt generally commission the company, which employs fabricators in Oakland and subcontracts with artists around the country, to create artwork for common areas and offices. (One project description in the “open call” section of Local Language’s website reads, “Hill country vibes meets tech / modern!”)\u003c/p>\n\u003cp>Local Language also has artist residency and exhibition programs underwritten by the commercial work, but Bunnell said the former Vessel space will be dedicated to fabrication. Asked about the appearance of his business seizing on or hastening Vessel’s ouster, Bunnell said he hasn’t encountered that criticism. \u003c/p>\n\u003cp>He added, “We’re definitely on the side of ‘losing art spaces is a bad thing.’” \u003c/p>\n\u003cp>Since leaving the former hayloft she originally leased and renovated in 2010, Lee has been searching for a new brick-and-mortar gallery while continuing to work with dozens of artists \u003ca href=\"https://www.vessel-gallery.com/\">Vessel\u003c/a> still represents. In her first week at her interim office, for example, Lee placed a work by Oakland artist Iris Polos, \u003cem>Narcissus, the Prince and the Frog\u003c/em>, in the permanent collection at Berkeley Art Museum & Pacific Film Archive. \u003c/p>\n\u003cfigure id=\"attachment_13843961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-800x450.jpg\" alt=\"Lonnie Lee, director and curator at Vessel Gallery. Lee's landlord declined to renew the Oakland gallery's lease, citing a desire to take the building in a "different direction." \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13843961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Lee, director and curator at Vessel Gallery. Lee’s landlord declined to renew the Oakland gallery’s lease, citing a desire to take the building in a “different direction.” \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To find a new location, Lee is working with Oakland City Councilmember Lynette Gibson-McElhaney’s office as well Kelley Kahn, the city’s policy director for art spaces. Kahn is optimistic that incoming mixed-use developments in the neighborhood can accommodate displaced galleries and nonprofits. \u003c/p>\n\u003cp>“We will work hard to find them a new space in Oakland, connecting them with property owners and real-estate developers that see the value in making space for Oakland’s arts and culture,” Kahn said. \u003c/p>\n\u003cp>Beginning in 2014, Lee organized neighboring gallerists to pressure elected officials to formally recognize the Uptown Arts District, hoping the designation would begin fortifying its many cultural resources against rising rent and redevelopment. Oakland City Council eventually scuttled the resolution entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The last founding Art Murmur participant, Rock Paper Scissors, closed its Telegraph Avenue gallery after a rent hike in 2015. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Nancy Wilson, Legendary Vocalist And NPR 'Jazz Profiles' Host, Dies At 81",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15396973/nancy-wilson\">Nancy Wilson\u003c/a> died Thursday after a long illness at her home in Pioneertown, Calif., her manager Devra Hall Levy told NPR. She was 81.\u003c/p>\n\u003cp>Born in Chillicothe, Ohio, in 1937, Wilson has recounted in interviews that she started singing around age 3 or 4.\u003c/p>\n\u003cp>“I have always just sung. I have never questioned what it is. I thank God for it and I just do it,” she told Marian McPartland, host of NPR’s\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=95307007\"> \u003cem>Piano Jazz \u003c/em>\u003c/a>in 1994.\u003c/p>\n\u003cp>She never had formal training but was influenced by Dinah Washington, Nat “King” Cole, and others. Wilson says she knew at an early age what she would do for a living.\u003c/p>\n\u003cp>During her decades-long career, Wilson performed jazz ballads, standards, torch songs, show tunes and pop songs. She told McPartland that she loves a song with a good story and good lyrics. A song that has a beginning, middle and an end.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q9DFB0TM1h0\u003c/p>\n\u003cp>After attending Central State College in Ohio for one year, she left to pursue music full time. She had been touring continuously in her 20s when she met saxophonist Cannonball Adderley. He suggested she move to New York and in 1959 she did. Many successful singles and albums followed.\u003c/p>\n\u003cp>From 1996 through 2005, NPR listeners will remember Wilson as the host of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=10208861&\">\u003cem>Jazz Profiles\u003c/em>\u003c/a>, a documentary series that profiled the legends and legacy of jazz. More than 190 episodes were produced.\u003c/p>\n\u003cp>In the interview on \u003cem>Piano Jazz\u003c/em>, McPartland described Wilson as a multi-talented entertainer. She didn’t just sing, Wilson made guest appearances on TV variety programs and acted in several TV series.\u003c/p>\n\u003cp>As \u003ca href=\"https://variety.com/2018/music/news/jazz-singer-nancy-wilson-dies-1203089722/\">Variety reports\u003c/a>: Wilson may be remembered by millions of TV viewers who recall her 1974-75 NBC variety series, “The Nancy Wilson Show,” for which she won an Emmy. She was frequently a guest herself on the variety shows hosted by Carol Burnett, Andy Williams and Flip Wilson as well as acting on “The Cosby Show” and dramatic series like “The F.B.I.” and “Hawaii 5-O.”\u003c/p>\n\u003cp>The National Endowment for the Arts awarded Wilson a “Jazz Masters Fellowship” in 2004 for lifetime achievement.\u003c/p>\n\u003cp>In 1998, she received the NAACP Image award — having been active in the civil rights movement, including the 1965 march on Selma, Ala.\u003c/p>\n\u003cp>In 2011, she stopped touring following a show at Ohio University, but had hinted years earlier that she had thought about retiring.\u003c/p>\n\u003cp>The Associated Press reports that in 2007, when she turned 70, “Wilson was the guest of honor at a Carnegie Hall gala. ‘After 55 years of doing what I do professionally, I have a right to ask how long? I’m trying to retire, people,’ she said with a laugh before leaving the stage to a standing ovation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to a family statement, Wilson did not want a funeral. A celebration of her life will be held later. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nancy+Wilson%2C+Legendary+Vocalist+And+NPR+%27Jazz+Profiles%27+Host%2C+Dies+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15396973/nancy-wilson\">Nancy Wilson\u003c/a> died Thursday after a long illness at her home in Pioneertown, Calif., her manager Devra Hall Levy told NPR. She was 81.\u003c/p>\n\u003cp>Born in Chillicothe, Ohio, in 1937, Wilson has recounted in interviews that she started singing around age 3 or 4.\u003c/p>\n\u003cp>“I have always just sung. I have never questioned what it is. I thank God for it and I just do it,” she told Marian McPartland, host of NPR’s\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=95307007\"> \u003cem>Piano Jazz \u003c/em>\u003c/a>in 1994.\u003c/p>\n\u003cp>She never had formal training but was influenced by Dinah Washington, Nat “King” Cole, and others. Wilson says she knew at an early age what she would do for a living.\u003c/p>\n\u003cp>During her decades-long career, Wilson performed jazz ballads, standards, torch songs, show tunes and pop songs. She told McPartland that she loves a song with a good story and good lyrics. A song that has a beginning, middle and an end.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/q9DFB0TM1h0'\n title='//www.youtube.com/embed/q9DFB0TM1h0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After attending Central State College in Ohio for one year, she left to pursue music full time. She had been touring continuously in her 20s when she met saxophonist Cannonball Adderley. He suggested she move to New York and in 1959 she did. Many successful singles and albums followed.\u003c/p>\n\u003cp>From 1996 through 2005, NPR listeners will remember Wilson as the host of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=10208861&\">\u003cem>Jazz Profiles\u003c/em>\u003c/a>, a documentary series that profiled the legends and legacy of jazz. More than 190 episodes were produced.\u003c/p>\n\u003cp>In the interview on \u003cem>Piano Jazz\u003c/em>, McPartland described Wilson as a multi-talented entertainer. She didn’t just sing, Wilson made guest appearances on TV variety programs and acted in several TV series.\u003c/p>\n\u003cp>As \u003ca href=\"https://variety.com/2018/music/news/jazz-singer-nancy-wilson-dies-1203089722/\">Variety reports\u003c/a>: Wilson may be remembered by millions of TV viewers who recall her 1974-75 NBC variety series, “The Nancy Wilson Show,” for which she won an Emmy. She was frequently a guest herself on the variety shows hosted by Carol Burnett, Andy Williams and Flip Wilson as well as acting on “The Cosby Show” and dramatic series like “The F.B.I.” and “Hawaii 5-O.”\u003c/p>\n\u003cp>The National Endowment for the Arts awarded Wilson a “Jazz Masters Fellowship” in 2004 for lifetime achievement.\u003c/p>\n\u003cp>In 1998, she received the NAACP Image award — having been active in the civil rights movement, including the 1965 march on Selma, Ala.\u003c/p>\n\u003cp>In 2011, she stopped touring following a show at Ohio University, but had hinted years earlier that she had thought about retiring.\u003c/p>\n\u003cp>The Associated Press reports that in 2007, when she turned 70, “Wilson was the guest of honor at a Carnegie Hall gala. ‘After 55 years of doing what I do professionally, I have a right to ask how long? I’m trying to retire, people,’ she said with a laugh before leaving the stage to a standing ovation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to a family statement, Wilson did not want a funeral. A celebration of her life will be held later. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nancy+Wilson%2C+Legendary+Vocalist+And+NPR+%27Jazz+Profiles%27+Host%2C+Dies+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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