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"content": "\u003cp>Tens of thousands of fans have descended from parts near and far on San Jose for \u003ca href=\"https://www.twitchcon.com/\" target=\"_blank\" rel=\"noopener\">TwitchCon 2018,\u003c/a> one giant thrill fest for those who live on the live-streaming platform.\u003c/p>\n\u003cp>During his \u003ca href=\"https://www.twitch.tv/videos/327720797?collection=QA6Amns-YRUdIA\" target=\"_blank\" rel=\"noopener\">keynote speech\u003c/a>, Twitch CEO Emmett Shear made a point of emphasizing his emphasis on community. “Today, you’re going to hear me say ‘community’ 46 times. There’s a good reason for that. Billions of them, actually.”\u003c/p>\n\u003cp>Twitch is predicated on a basic fact about humans: we like to watch other people and we like other people to watch us. 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Every year, it grows,\" says Garcia. \"Just seeing all these other streamers and the community, it’s awesome.” ' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Garcia and Alma Grace of Las Vegas dressed as “skins” from the game Fortnite: specifically, trex and triceratops. “It’s really fun. Every year, it grows,” says Garcia. “Just seeing all these other streamers and the community, it’s awesome.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus, there’s a palpable thrill in the air at San Jose’s convention center, the kind of thrill that comes with viscerally sensing you are not alone in your passion for Twitch.\u003c/p>\n\u003cp>That’s the case for Marvin England, a systems engineer from Austin. “I’m here to meet other streamers I’ve only met online,” he says; especially Filipino streamers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3D animator Lionel Milbourne of Baltimore was surprised by the size of this crowd after attending cons closer to home. “So far, it’s pretty lit. It’s a lot of people right here,” he says, his eyes spinning at the passing crowd.\u003c/p>\n\u003cp>Even people who work for Twitch are susceptible to the euphoria. Elena Gauvin of Sacramento, who works in trust and safety, says, “I’m excited to see my coworkers, because a lot of us are working remotely. So this might be the first time we’re meeting in person.”\u003c/p>\n\u003cfigure id=\"attachment_13843654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843654\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-800x1067.jpg\" alt=\"Hair stylist Tara Yorence of Los Angeles offers advice to Joshua Tafur of New Jersey on how to grow his Twitch stream. (She’s got 1,600 followers.) “Don’t focus on numbers. That’s what’s going to burn you out. Just focus on having fun.” \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hair stylist Tara Yorence of Los Angeles offered advice to Joshua Tafur of New Jersey on how to grow his Twitch stream. (She’s got 1,600 followers.) “Don’t focus on numbers. That’s what’s going to burn you out. Just focus on having fun.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It must also be said many Twitch streamers are interested in much more than engaging in it as a hobby. Like would-be Internet celebrities everywhere, huge numbers of streamers dream of achieving online stardom and lucrative sponsorship deals, and Twitch knows this.\u003c/p>\n\u003cp>The San Francisco-based, Amazon-owned platform has mastered the gamification of engagement with streamers. The more you stream, the more followers you have, the more support you get from Twitch building a bigger, better community.\u003c/p>\n\u003cp>If you can deliver 500 minutes of broadcast in the last 30 days with at least seven broadcasts, you can apply to be a part of a Twitch Affiliate program, where viewers can subscribe to your channel for $4.99.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.twitch.tv/?autoplay=false&video=v327720797\" frameborder=\"0\" allowfullscreen=\"true\" scrolling=\"no\" height=\"378\" width=\"620\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Consistently attract 70-80 viewers per stream, and you can become a Twitch Partner. This year, Twitch says more than 235,000 streamers reached Affiliate status, and 6,800 reached Partner status.\u003c/p>\n\u003cp>Subscriptions, sponsorships, ads, direct donations from fans: is it enough to quit your day job? Maybe for superstar streamers like Ninja, who landed the platform’s biggest pop culture coup when he got to play Fortnite with rapper Drake.\u003c/p>\n\u003cp>Ninja makes more than $500,000 a month, \u003ca href=\"https://www.cnbc.com/2018/03/19/tyler-ninja-blevins-explains-how-he-makes-more-than-500000-a-month-playing-video-game-fortnite.html\">according to CNBC\u003c/a>. But that’s not going to happen for most of the more than 15 million daily visitors Twitch says it has. Still, a streamer can dream, and TwitchCon encourages that dream with celebrity panels and new feature announcements.\u003c/p>\n\u003cfigure id=\"attachment_13843655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-800x604.jpg\" alt=\"The chalk wall at TwitchCon 2018 at the San Jose Convention Center.\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-1200x906.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-1180x891.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-960x725.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-520x392.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The chalk wall at TwitchCon 2018 at the San Jose Convention Center. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If anybody at TwitchCom 2018 was thinking about the two people killed and 11 injured in a mass shooting during a “Madden NFL” tournament in Jacksonville, Florida two months ago, nobody was talking about it with this reporter.\u003c/p>\n\u003cp>But they were buzzing about safety and security \u003cem>online\u003c/em>: namely, troll control. Twitch is doing better supporting civility, says Miriam Aguirre. She’s a senior VP of engineering at \u003ca href=\"http://corp.skillz.com\" target=\"_blank\" rel=\"noopener\">Skillz\u003c/a>, an mobile multiplayer competition platform.\u003c/p>\n\u003cp>Aguirre is speaking Sunday on a \u003ca href=\"https://twitchcon.com/schedule/women-in-gaming-how-to-break-the-cycle-of-underrepresentation/\" target=\"_blank\" rel=\"noopener\">panel\u003c/a> about the under-representation of women in gaming. She’s hoping people who left gaming because they felt unwelcome or unsafe in previous years consider coming back in 2018. She says the industry has grown increasingly sensitized to the need for tools like the one Twitch just unveiled, allowing streamers and moderators to see anybody’s chat rap sheet at a click.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“A lot of these tools should have been made available early on, but I’m glad they’re finally getting around to it,” Aguirre says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tens of thousands of fans have descended from parts near and far on San Jose for \u003ca href=\"https://www.twitchcon.com/\" target=\"_blank\" rel=\"noopener\">TwitchCon 2018,\u003c/a> one giant thrill fest for those who live on the live-streaming platform.\u003c/p>\n\u003cp>During his \u003ca href=\"https://www.twitch.tv/videos/327720797?collection=QA6Amns-YRUdIA\" target=\"_blank\" rel=\"noopener\">keynote speech\u003c/a>, Twitch CEO Emmett Shear made a point of emphasizing his emphasis on community. “Today, you’re going to hear me say ‘community’ 46 times. There’s a good reason for that. Billions of them, actually.”\u003c/p>\n\u003cp>Twitch is predicated on a basic fact about humans: we like to watch other people and we like other people to watch us. TwitchCon is predicated on another basic fact about humans: we like to see the people we interact with, in person, eventually.\u003c/p>\n\u003cfigure id=\"attachment_13843653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-800x1067.jpg\" alt='Anthony Garcia and Alma Grace of Las Vegas dressed as \"skins\" from the game Fortnite: specifically, trex and triceratops. “It’s really fun. Every year, it grows,\" says Garcia. \"Just seeing all these other streamers and the community, it’s awesome.” ' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Garcia and Alma Grace of Las Vegas dressed as “skins” from the game Fortnite: specifically, trex and triceratops. “It’s really fun. Every year, it grows,” says Garcia. “Just seeing all these other streamers and the community, it’s awesome.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus, there’s a palpable thrill in the air at San Jose’s convention center, the kind of thrill that comes with viscerally sensing you are not alone in your passion for Twitch.\u003c/p>\n\u003cp>That’s the case for Marvin England, a systems engineer from Austin. “I’m here to meet other streamers I’ve only met online,” he says; especially Filipino streamers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>3D animator Lionel Milbourne of Baltimore was surprised by the size of this crowd after attending cons closer to home. “So far, it’s pretty lit. It’s a lot of people right here,” he says, his eyes spinning at the passing crowd.\u003c/p>\n\u003cp>Even people who work for Twitch are susceptible to the euphoria. Elena Gauvin of Sacramento, who works in trust and safety, says, “I’m excited to see my coworkers, because a lot of us are working remotely. So this might be the first time we’re meeting in person.”\u003c/p>\n\u003cfigure id=\"attachment_13843654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843654\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-800x1067.jpg\" alt=\"Hair stylist Tara Yorence of Los Angeles offers advice to Joshua Tafur of New Jersey on how to grow his Twitch stream. (She’s got 1,600 followers.) “Don’t focus on numbers. That’s what’s going to burn you out. Just focus on having fun.” \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hair stylist Tara Yorence of Los Angeles offered advice to Joshua Tafur of New Jersey on how to grow his Twitch stream. (She’s got 1,600 followers.) “Don’t focus on numbers. That’s what’s going to burn you out. Just focus on having fun.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It must also be said many Twitch streamers are interested in much more than engaging in it as a hobby. Like would-be Internet celebrities everywhere, huge numbers of streamers dream of achieving online stardom and lucrative sponsorship deals, and Twitch knows this.\u003c/p>\n\u003cp>The San Francisco-based, Amazon-owned platform has mastered the gamification of engagement with streamers. The more you stream, the more followers you have, the more support you get from Twitch building a bigger, better community.\u003c/p>\n\u003cp>If you can deliver 500 minutes of broadcast in the last 30 days with at least seven broadcasts, you can apply to be a part of a Twitch Affiliate program, where viewers can subscribe to your channel for $4.99.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.twitch.tv/?autoplay=false&video=v327720797\" frameborder=\"0\" allowfullscreen=\"true\" scrolling=\"no\" height=\"378\" width=\"620\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Consistently attract 70-80 viewers per stream, and you can become a Twitch Partner. This year, Twitch says more than 235,000 streamers reached Affiliate status, and 6,800 reached Partner status.\u003c/p>\n\u003cp>Subscriptions, sponsorships, ads, direct donations from fans: is it enough to quit your day job? Maybe for superstar streamers like Ninja, who landed the platform’s biggest pop culture coup when he got to play Fortnite with rapper Drake.\u003c/p>\n\u003cp>Ninja makes more than $500,000 a month, \u003ca href=\"https://www.cnbc.com/2018/03/19/tyler-ninja-blevins-explains-how-he-makes-more-than-500000-a-month-playing-video-game-fortnite.html\">according to CNBC\u003c/a>. But that’s not going to happen for most of the more than 15 million daily visitors Twitch says it has. Still, a streamer can dream, and TwitchCon encourages that dream with celebrity panels and new feature announcements.\u003c/p>\n\u003cfigure id=\"attachment_13843655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-800x604.jpg\" alt=\"The chalk wall at TwitchCon 2018 at the San Jose Convention Center.\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-1200x906.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-1180x891.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-960x725.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-520x392.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The chalk wall at TwitchCon 2018 at the San Jose Convention Center. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If anybody at TwitchCom 2018 was thinking about the two people killed and 11 injured in a mass shooting during a “Madden NFL” tournament in Jacksonville, Florida two months ago, nobody was talking about it with this reporter.\u003c/p>\n\u003cp>But they were buzzing about safety and security \u003cem>online\u003c/em>: namely, troll control. Twitch is doing better supporting civility, says Miriam Aguirre. She’s a senior VP of engineering at \u003ca href=\"http://corp.skillz.com\" target=\"_blank\" rel=\"noopener\">Skillz\u003c/a>, an mobile multiplayer competition platform.\u003c/p>\n\u003cp>Aguirre is speaking Sunday on a \u003ca href=\"https://twitchcon.com/schedule/women-in-gaming-how-to-break-the-cycle-of-underrepresentation/\" target=\"_blank\" rel=\"noopener\">panel\u003c/a> about the under-representation of women in gaming. She’s hoping people who left gaming because they felt unwelcome or unsafe in previous years consider coming back in 2018. She says the industry has grown increasingly sensitized to the need for tools like the one Twitch just unveiled, allowing streamers and moderators to see anybody’s chat rap sheet at a click.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“A lot of these tools should have been made available early on, but I’m glad they’re finally getting around to it,” Aguirre says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bruce Munro's Narnian Fantasies Light Up Montalvo Arts Center",
"headTitle": "Bruce Munro’s Narnian Fantasies Light Up Montalvo Arts Center | KQED",
"content": "\u003cp>The \u003ca href=\"http://montalvoarts.org\" target=\"_blank\" rel=\"noopener\">Montalvo Arts Center\u003c/a> in Saratoga is a romantic place when the sun goes down. A warm South Bay wind blows through the towering trees. The warm burble of laughter and conversation from party goers in the villa floats in the air. Crickets chirping in tandem drown out thoughts of the outside world.\u003c/p>\n\u003cp>The British artist \u003ca href=\"http://www.brucemunro.co.uk\" target=\"_blank\" rel=\"noopener\">Bruce Munro\u003c/a> picked up on that magic when he was invited to visit this 1912 Mediterranean-style villa and its expansive grounds, once the country home of San Francisco’s mayor at the turn of the last century, James Phelan.\u003c/p>\n\u003cp>On the side of the house, Munro spotted a stained-glass window featuring Spanish explorer Juan Rodríguez Cabrillo’s galleon, the San Salvador, plying a boisterous Pacific Ocean. To Munro, the window evoked his early memories of the C.S. Lewis children’s book: \u003cem>The Voyage of the Dawn Treader, \u003c/em>fifth in the seven-novel series, \u003cem>The Chronicles of Narnia\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13843678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-800x538.jpg\" alt=\"Stories in Light includes "Dawn Treader," the original inspiration for Bruce Munro's Narnian exploration at the Montalvo Art Center. He illuminated this 106-year-old stained glass window so as to create the illusion of movement.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-1200x806.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stories in Light includes “Dawn Treader,” the original inspiration for Bruce Munro’s Narnian exploration at the Montalvo Art Center. He illuminated this 106-year-old stained glass window so as to create the illusion of movement. \u003ccite>(Photo: Courtesy of Mark Pickthall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think you should see the world as a child,” Munro says. “In fact, the less I try to overthink things, the more I think they seem to work.”\u003c/p>\n\u003cp>Two years later, \u003ci>Munro has \u003c/i>overlaid a collection of 10 Narnian dreamscapes onto Montalvo’s grounds, though you don’t have to have read the books to appreciate the pretty lights.\u003cspan class=\"Apple-converted-space\"> Munro’s trademark is the immersive light-scape, and \u003ca href=\"https://www.munromontalvo.org/multimedia.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Stories in Light\u003c/em>\u003c/a> delivers on that promise in profusion.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s “Silver Sea,” featuring huge clusters of long-stemmed, pulsing light bulbs; illuminated “lilies” on the grass lawn in front of the villa. It’s a concept Munro has made use of before in UK installations, but the electric sea of white and yellow seems perfectly suited to Montalvo. His dream becomes your dream.\u003c/p>\n\u003cp>In \u003cem>Dawn Treader\u003c/em>, a clutch of characters venture in a small boat through a sea of lilies. Then they reach a wall of water that crests endlessly, blending into the sky. That’s “Reepicheep’s Wave.” In Munro’s imagination, the wave is evoked with 18,000 plastic mussel shells, shimmering along translucent fiber-optic cables as a musical soundtrack endlessly rises.\u003c/p>\n\u003cfigure id=\"attachment_13843679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843679\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-800x533.jpg\" alt=\""Stories in Light" includes "Reepicheep's Wave," on display in the Garden Theatre at Montalvo Arts Center. This piece features over 15,000 plastic mussel shells suspended on illuminated optical fibers.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Stories in Light” includes “Reepicheep’s Wave,” on display in the Garden Theatre at Montalvo Arts Center. This piece features over 15,000 plastic mussel shells suspended on illuminated optical fibers. \u003ccite>(Photo: Courtesy of Mark Pickthall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I see gardens and spaces as a series of sort of outdoor rooms,” Munro says. “Part of the reason I do what I do is because I love the real experience of the world. I want to encourage people to get back out there and experience life and interact with people and landscape. We’re starting to rely too much on sitting in front of our screens and doing virtual something or other.”\u003c/p>\n\u003cp>Indeed, you could focus on taking the perfect Instagram shot at Montalvo, and each installation provides opportunities to do that. But as we so often lament, the smart phone doesn’t capture the breeze rustling against your skin, or the tingle of your childhood memories overlaying themselves against Munro’s.\u003c/p>\n\u003cp>Montalvo regularly plays host to artists from around the world in coveted residencies, and many of them come up with artistic installations that temporarily nestle within the gardens here. But \u003cem>Stories in Light\u003c/em> is the most ambitious installation yet, something the non-profit’s officials reached out for by inviting Munro here and offering him the opportunity to deliver something on a bigger scale than he usually gets to work with.\u003c/p>\n\u003cp>Munro says each piece is designed to work on its own, but the collective experience of wandering through ten of them adds up to delight.\u003c/p>\n\u003cfigure id=\"attachment_13843680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-800x526.jpg\" alt=\""Light Shower," on display in the villa's Solarium, will stay on permanently at Montalvo Arts Center past the closure of "Stories in Light" in March, 2019.\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-1200x789.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Light Shower,” on display in the villa’s Solarium, will stay on permanently at Montalvo Arts Center past the closure of “Stories in Light” in March, 2019. \u003ccite>(Photo: Courtesy of Mark Pickthall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is Munro’s ninth large scale solo exhibition in the US, but it’s his first on the West Coast, comprised of the largest number of his works ever displayed together.\u003c/p>\n\u003cp>A recent press preview was as much a celebration of the work Montalvo’s staff engaged in to bring this together. All of the materials were made by Munro and his team at his studio in England. Then, the elements were shipped to California, where hundreds of volunteers joined those team members to put everything together in recent weeks. The charmingly self-effacing artist is quick to credit his team whenever fans gush in front of him, and it’s fair to say Montalvo’s staff and volunteers are fans.\u003c/p>\n\u003cp>If you plan to go, be aware you have to park at West Valley College and take a shuttle, because there’s no driving on the grounds. Right? That would ruin the magical effect of the lights at night.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Stories in Light runs \u003c/em>\u003c/strong>October 28, 2018 – March 17, 2019 at the Montalvo Arts Center in Saratoga. For more information, click \u003ca href=\"http://montalvoarts.org/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://montalvoarts.org\" target=\"_blank\" rel=\"noopener\">Montalvo Arts Center\u003c/a> in Saratoga is a romantic place when the sun goes down. A warm South Bay wind blows through the towering trees. The warm burble of laughter and conversation from party goers in the villa floats in the air. Crickets chirping in tandem drown out thoughts of the outside world.\u003c/p>\n\u003cp>The British artist \u003ca href=\"http://www.brucemunro.co.uk\" target=\"_blank\" rel=\"noopener\">Bruce Munro\u003c/a> picked up on that magic when he was invited to visit this 1912 Mediterranean-style villa and its expansive grounds, once the country home of San Francisco’s mayor at the turn of the last century, James Phelan.\u003c/p>\n\u003cp>On the side of the house, Munro spotted a stained-glass window featuring Spanish explorer Juan Rodríguez Cabrillo’s galleon, the San Salvador, plying a boisterous Pacific Ocean. To Munro, the window evoked his early memories of the C.S. Lewis children’s book: \u003cem>The Voyage of the Dawn Treader, \u003c/em>fifth in the seven-novel series, \u003cem>The Chronicles of Narnia\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13843678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-800x538.jpg\" alt=\"Stories in Light includes "Dawn Treader," the original inspiration for Bruce Munro's Narnian exploration at the Montalvo Art Center. He illuminated this 106-year-old stained glass window so as to create the illusion of movement.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-1200x806.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33454_Bruce-Munro-at-Montalvo_Mark-Pickthall-14-qut-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stories in Light includes “Dawn Treader,” the original inspiration for Bruce Munro’s Narnian exploration at the Montalvo Art Center. He illuminated this 106-year-old stained glass window so as to create the illusion of movement. \u003ccite>(Photo: Courtesy of Mark Pickthall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think you should see the world as a child,” Munro says. “In fact, the less I try to overthink things, the more I think they seem to work.”\u003c/p>\n\u003cp>Two years later, \u003ci>Munro has \u003c/i>overlaid a collection of 10 Narnian dreamscapes onto Montalvo’s grounds, though you don’t have to have read the books to appreciate the pretty lights.\u003cspan class=\"Apple-converted-space\"> Munro’s trademark is the immersive light-scape, and \u003ca href=\"https://www.munromontalvo.org/multimedia.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Stories in Light\u003c/em>\u003c/a> delivers on that promise in profusion.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s “Silver Sea,” featuring huge clusters of long-stemmed, pulsing light bulbs; illuminated “lilies” on the grass lawn in front of the villa. It’s a concept Munro has made use of before in UK installations, but the electric sea of white and yellow seems perfectly suited to Montalvo. His dream becomes your dream.\u003c/p>\n\u003cp>In \u003cem>Dawn Treader\u003c/em>, a clutch of characters venture in a small boat through a sea of lilies. Then they reach a wall of water that crests endlessly, blending into the sky. That’s “Reepicheep’s Wave.” In Munro’s imagination, the wave is evoked with 18,000 plastic mussel shells, shimmering along translucent fiber-optic cables as a musical soundtrack endlessly rises.\u003c/p>\n\u003cfigure id=\"attachment_13843679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843679\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-800x533.jpg\" alt=\""Stories in Light" includes "Reepicheep's Wave," on display in the Garden Theatre at Montalvo Arts Center. This piece features over 15,000 plastic mussel shells suspended on illuminated optical fibers.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33451_Bruce-Munro-at-Montalvo_Mark-Pickthall-11-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Stories in Light” includes “Reepicheep’s Wave,” on display in the Garden Theatre at Montalvo Arts Center. This piece features over 15,000 plastic mussel shells suspended on illuminated optical fibers. \u003ccite>(Photo: Courtesy of Mark Pickthall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I see gardens and spaces as a series of sort of outdoor rooms,” Munro says. “Part of the reason I do what I do is because I love the real experience of the world. I want to encourage people to get back out there and experience life and interact with people and landscape. We’re starting to rely too much on sitting in front of our screens and doing virtual something or other.”\u003c/p>\n\u003cp>Indeed, you could focus on taking the perfect Instagram shot at Montalvo, and each installation provides opportunities to do that. But as we so often lament, the smart phone doesn’t capture the breeze rustling against your skin, or the tingle of your childhood memories overlaying themselves against Munro’s.\u003c/p>\n\u003cp>Montalvo regularly plays host to artists from around the world in coveted residencies, and many of them come up with artistic installations that temporarily nestle within the gardens here. But \u003cem>Stories in Light\u003c/em> is the most ambitious installation yet, something the non-profit’s officials reached out for by inviting Munro here and offering him the opportunity to deliver something on a bigger scale than he usually gets to work with.\u003c/p>\n\u003cp>Munro says each piece is designed to work on its own, but the collective experience of wandering through ten of them adds up to delight.\u003c/p>\n\u003cfigure id=\"attachment_13843680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-800x526.jpg\" alt=\""Light Shower," on display in the villa's Solarium, will stay on permanently at Montalvo Arts Center past the closure of "Stories in Light" in March, 2019.\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-1200x789.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33453_Bruce-Munro-at-Montalvo_Mark-Pickthall-6-qut-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Light Shower,” on display in the villa’s Solarium, will stay on permanently at Montalvo Arts Center past the closure of “Stories in Light” in March, 2019. \u003ccite>(Photo: Courtesy of Mark Pickthall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is Munro’s ninth large scale solo exhibition in the US, but it’s his first on the West Coast, comprised of the largest number of his works ever displayed together.\u003c/p>\n\u003cp>A recent press preview was as much a celebration of the work Montalvo’s staff engaged in to bring this together. All of the materials were made by Munro and his team at his studio in England. Then, the elements were shipped to California, where hundreds of volunteers joined those team members to put everything together in recent weeks. The charmingly self-effacing artist is quick to credit his team whenever fans gush in front of him, and it’s fair to say Montalvo’s staff and volunteers are fans.\u003c/p>\n\u003cp>If you plan to go, be aware you have to park at West Valley College and take a shuttle, because there’s no driving on the grounds. Right? That would ruin the magical effect of the lights at night.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Stories in Light runs \u003c/em>\u003c/strong>October 28, 2018 – March 17, 2019 at the Montalvo Arts Center in Saratoga. For more information, click \u003ca href=\"http://montalvoarts.org/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On a recent Wednesday evening after hours at Jessica Silverman Gallery, a group of over a dozen art handlers sat in a circle on the floor describing how they ended up in this line of work—a largely invisible, yet integral part of the art industry.\u003c/p>\n\u003cp>Some embellished resumes to gain access to entry-level jobs; others worked for free to pick up skills. Many described the delicate balancing act of juggling on-call jobs at multiple local art institutions alongside their own art practices. All were, first and foremost, artists hustling to make a living in the Bay Area economy. The mood was convivial and confessional, unguarded.\u003c/p>\n\u003cp>The gathering took place under the auspices of \u003ca href=\"http://womenarthandlers.com/\" target=\"_blank\" rel=\"noopener\">Womxn* Art Handlers\u003c/a> (W*AH), a new Bay Area group dedicated to supporting women, people of color, queer and gender non-conforming individuals in the professional arts industry. Art handlers’ names may not be ones you see in vinyl on museum walls, but they’re the people who make sure that Magritte painting hangs just so, and that the sculpture you’re admiring has a pedestal to sit upon.\u003c/p>\n\u003cfigure id=\"attachment_13843545\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-1200x801.jpg\" alt=\"Marcela Pardo Ariza and Kat Trataris at R/SF projects’ opening of 'Slow Clap' a solo show by Pardo Ariza.\" width=\"640\" height=\"427\" class=\"size-complete_open_graph wp-image-13843545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marcela Pardo Ariza and Kat Trataris at R/SF projects’ opening of ‘Slow Clap’ a solo show by Pardo Ariza. \u003ccite>(Photo by Ben Hoffman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organizers \u003ca href=\"http://kaitlintrataris.com/\" target=\"_blank\" rel=\"noopener\">Kat Trataris\u003c/a> and \u003ca href=\"https://www.marcelapardo.com/\" target=\"_blank\" rel=\"noopener\">Marcela Pardo Ariza\u003c/a> officially launched the group \u003ca href=\"https://www.facebook.com/groups/312696452588738/\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a> in March (which has become a de facto job board for W*AH) and organized the first meet-up in late May, but the idea’s been with them for years, ever since they ended up handling art as student workers at the San Francisco Art Institute.\u003c/p>\n\u003cp>“It felt like such a good job and such a resource,” Trataris says of \u003ca href=\"https://www.kqed.org/arts/10973249/artist-experiments-underwater-and-upside-down-at-sfai\" target=\"_blank\" rel=\"noopener\">her introduction\u003c/a> to work previously unknown to her. “I couldn’t believe how hidden and inaccessible it was, period—to anyone, much less anyone who wasn’t a cis white dude.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The world of prep (short for preparator) work, art handling, install and fabrication—all terms that generally describe various behind-the-scenes roles involved with the movement, installation and presentation of art—is a fairly closed one. In 2015, a \u003ca href=\"https://mellon.org/media/filer_public/ba/99/ba99e53a-48d5-4038-80e1-66f9ba1c020e/awmf_museum_diversity_report_aamd_7-28-15.pdf\" target=\"_blank\" rel=\"noopener\">survey\u003c/a> of diversity in American art museums found that only 15 percent of preparators and art handlers identify as non-white and only 25 percent identify as non-male.\u003c/p>\n\u003cp>It’s a job that requires a plethora of skills (safe packing and transport of art, knowledge of hanging mechanisms, media player know-how, comfort with heights, construction experience, the list goes on) to prevent injury to art handlers or damage to often priceless pieces of art. But there’s no degree in art handling, Trataris says, so these specialized skills remain within a set group of people, and those doing the hiring often look to those people for recommendations.\u003c/p>\n\u003cp>“It’s the biggest problem, actually,” she says. “There’s no way to verify someone’s actual skill set, so basically it all becomes word of mouth. But then it’s the same five people circulating. How do you even put new blood into that situation?”\u003c/p>\n\u003cp>With W*AH, Pardo Ariza and Trataris have a multi-pronged plan of attack. Regular mixers (they’ve held two since May) give art handlers the chance meet each other in an informal setting. Women and people of other gender identities can network and forge alliances in a field where they often find themselves alone on a team of men. Eventually, the organizers imagine these gatherings could become opportunities for hiring managers to scout talent.\u003c/p>\n\u003cfigure id=\"attachment_13843549\" class=\"wp-caption aligncenter\" style=\"max-width: 1772px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843549\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop.jpg\" alt=\"The first W*AH Mixer at YBCA on May 30, 2018.\" width=\"1772\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop.jpg 1772w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-800x693.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-768x666.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-1020x884.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-1200x1040.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-1180x1023.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-960x832.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-375x325.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-520x451.jpg 520w\" sizes=\"(max-width: 1772px) 100vw, 1772px\">\u003cfigcaption class=\"wp-caption-text\">The first W*AH Mixer at YBCA on May 30, 2018. \u003ccite>(Courtesy of W*AH)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group is also dedicated to building knowledge, so that W*AH members can feel more confident in their art handling abilities and become more competitive candidates in the field. Trataris, who was one of the co-founders of the recently closed \u003ca href=\"http://rsfprojects.com/\" target=\"_blank\" rel=\"noopener\">R/SF projects\u003c/a>, staged an open install night at the gallery so W*AH members could watch the process from start to finish. In the spring, Pardo Ariza and Trataris will teach a free \u003ca href=\"https://www.sfai.edu/public-youth-education/public-education\" target=\"_blank\" rel=\"noopener\">public education class\u003c/a> at SFAI, a series of four workshops covering art handling basics. It’s a curriculum they hope others, especially institutions, will adopt to make the field more accessible to a wider range of aspiring workers.\u003c/p>\n\u003cp>“As we’re talking about inclusivity and diversity in the workplace as something that \u003ci>must\u003c/i> happen—and I feel like a lot of places at least say that’s where they want to go—we also want to move away from tokenism,” says Pardo Ariza, who works in YBCA’s civic engagement department. “It’s not just having one woman preparator or one POC working there. It’s about actually making the place run by different peoples and bodies and abilities.”\u003c/p>\n\u003cp>“It’s so important to have a diverse workplace,” says Trataris. “Communication styles and methods are better when you have a diverse group of people because you realize the limits of your own communication style. And better communication styles make for a more open work environment and make it easier on an international basis. I think it just makes a better prep world.”\u003c/p>\n\u003cp>“—or any world!” Pardo Ariza adds.\u003c/p>\n\u003cp>Other events, such as a recent visit to the \u003ca href=\"https://www.sfmoma.org/library-archives/about-collections-center/\" target=\"_blank\" rel=\"noopener\">SFMOMA Collections Center\u003c/a> in South San Francisco give W*AH members rare access to the inner workings of the Bay Area art world. In the climate-controlled warehouse filled to the brim with crated and wrapped artwork, SFMOMA employees walked 15 art handlers through their approaches to staging, conditioning, conserving and shipping art. It was a p\u003cspan style=\"font-weight: 400\">rivilege Trataris is fully aware of. She credits her own time working at the Collections Center as two years of pure art education—now she wants to share that breadth of knowledge with W*AH. \u003c/span>\u003c/p>\n\u003cp>“For me it became all about figuring out how institutions work,” she says. “Being a preparator allowed me to explore what is a gallery, what is a museum, what is an art school, what is the Venice Biennale? I could understand the art world in a big scope through prep work.”\u003c/p>\n\u003cp>The challenges W*AH faces—of bringing new voices into a male-dominated workplace and breaking down old structures of gatekeeping—are not unique to the field of art handling, but Pardo Ariza and Trataris approach the task with a sense of purpose.\u003c/p>\n\u003cp>“Ideally all these relationships we’re building are also artistic relationships,” Pardo Ariza says, “where we’re supporting each other’s work and we’re getting to know each other better. We’re creating a stronger community for all of us in a place where people are constantly moving away.”\u003c/p>\n\u003cp>Their long-term goals include organizing art handlers to advocate for higher pay across the board. (At the most recent meet-up, those gathered listed pay rates at various Bay Area museums in the $20–25-per-hour range.) Trataris wants to see this type of physical labor credited in exhibition-making, alongside the names of curators or lending institutions, as equally important to the finished presentation. And ultimately, W*AH wants to change the industry completely.\u003c/p>\n\u003cp>“I mean ideally-ideally—and I don’t know how many years this takes—it does so well it doesn’t have to exist anymore,” says Trataris.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Pardo Ariza agrees: “I think that was the mic-dropper.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Wednesday evening after hours at Jessica Silverman Gallery, a group of over a dozen art handlers sat in a circle on the floor describing how they ended up in this line of work—a largely invisible, yet integral part of the art industry.\u003c/p>\n\u003cp>Some embellished resumes to gain access to entry-level jobs; others worked for free to pick up skills. Many described the delicate balancing act of juggling on-call jobs at multiple local art institutions alongside their own art practices. All were, first and foremost, artists hustling to make a living in the Bay Area economy. The mood was convivial and confessional, unguarded.\u003c/p>\n\u003cp>The gathering took place under the auspices of \u003ca href=\"http://womenarthandlers.com/\" target=\"_blank\" rel=\"noopener\">Womxn* Art Handlers\u003c/a> (W*AH), a new Bay Area group dedicated to supporting women, people of color, queer and gender non-conforming individuals in the professional arts industry. Art handlers’ names may not be ones you see in vinyl on museum walls, but they’re the people who make sure that Magritte painting hangs just so, and that the sculpture you’re admiring has a pedestal to sit upon.\u003c/p>\n\u003cfigure id=\"attachment_13843545\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-1200x801.jpg\" alt=\"Marcela Pardo Ariza and Kat Trataris at R/SF projects’ opening of 'Slow Clap' a solo show by Pardo Ariza.\" width=\"640\" height=\"427\" class=\"size-complete_open_graph wp-image-13843545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/12.-RSF_MPA_SlowClap_Opening_1200.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marcela Pardo Ariza and Kat Trataris at R/SF projects’ opening of ‘Slow Clap’ a solo show by Pardo Ariza. \u003ccite>(Photo by Ben Hoffman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organizers \u003ca href=\"http://kaitlintrataris.com/\" target=\"_blank\" rel=\"noopener\">Kat Trataris\u003c/a> and \u003ca href=\"https://www.marcelapardo.com/\" target=\"_blank\" rel=\"noopener\">Marcela Pardo Ariza\u003c/a> officially launched the group \u003ca href=\"https://www.facebook.com/groups/312696452588738/\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a> in March (which has become a de facto job board for W*AH) and organized the first meet-up in late May, but the idea’s been with them for years, ever since they ended up handling art as student workers at the San Francisco Art Institute.\u003c/p>\n\u003cp>“It felt like such a good job and such a resource,” Trataris says of \u003ca href=\"https://www.kqed.org/arts/10973249/artist-experiments-underwater-and-upside-down-at-sfai\" target=\"_blank\" rel=\"noopener\">her introduction\u003c/a> to work previously unknown to her. “I couldn’t believe how hidden and inaccessible it was, period—to anyone, much less anyone who wasn’t a cis white dude.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The world of prep (short for preparator) work, art handling, install and fabrication—all terms that generally describe various behind-the-scenes roles involved with the movement, installation and presentation of art—is a fairly closed one. In 2015, a \u003ca href=\"https://mellon.org/media/filer_public/ba/99/ba99e53a-48d5-4038-80e1-66f9ba1c020e/awmf_museum_diversity_report_aamd_7-28-15.pdf\" target=\"_blank\" rel=\"noopener\">survey\u003c/a> of diversity in American art museums found that only 15 percent of preparators and art handlers identify as non-white and only 25 percent identify as non-male.\u003c/p>\n\u003cp>It’s a job that requires a plethora of skills (safe packing and transport of art, knowledge of hanging mechanisms, media player know-how, comfort with heights, construction experience, the list goes on) to prevent injury to art handlers or damage to often priceless pieces of art. But there’s no degree in art handling, Trataris says, so these specialized skills remain within a set group of people, and those doing the hiring often look to those people for recommendations.\u003c/p>\n\u003cp>“It’s the biggest problem, actually,” she says. “There’s no way to verify someone’s actual skill set, so basically it all becomes word of mouth. But then it’s the same five people circulating. How do you even put new blood into that situation?”\u003c/p>\n\u003cp>With W*AH, Pardo Ariza and Trataris have a multi-pronged plan of attack. Regular mixers (they’ve held two since May) give art handlers the chance meet each other in an informal setting. Women and people of other gender identities can network and forge alliances in a field where they often find themselves alone on a team of men. Eventually, the organizers imagine these gatherings could become opportunities for hiring managers to scout talent.\u003c/p>\n\u003cfigure id=\"attachment_13843549\" class=\"wp-caption aligncenter\" style=\"max-width: 1772px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843549\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop.jpg\" alt=\"The first W*AH Mixer at YBCA on May 30, 2018.\" width=\"1772\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop.jpg 1772w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-800x693.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-768x666.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-1020x884.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-1200x1040.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-1180x1023.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-960x832.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-375x325.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1.-YBCA-mixer_crop-520x451.jpg 520w\" sizes=\"(max-width: 1772px) 100vw, 1772px\">\u003cfigcaption class=\"wp-caption-text\">The first W*AH Mixer at YBCA on May 30, 2018. \u003ccite>(Courtesy of W*AH)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group is also dedicated to building knowledge, so that W*AH members can feel more confident in their art handling abilities and become more competitive candidates in the field. Trataris, who was one of the co-founders of the recently closed \u003ca href=\"http://rsfprojects.com/\" target=\"_blank\" rel=\"noopener\">R/SF projects\u003c/a>, staged an open install night at the gallery so W*AH members could watch the process from start to finish. In the spring, Pardo Ariza and Trataris will teach a free \u003ca href=\"https://www.sfai.edu/public-youth-education/public-education\" target=\"_blank\" rel=\"noopener\">public education class\u003c/a> at SFAI, a series of four workshops covering art handling basics. It’s a curriculum they hope others, especially institutions, will adopt to make the field more accessible to a wider range of aspiring workers.\u003c/p>\n\u003cp>“As we’re talking about inclusivity and diversity in the workplace as something that \u003ci>must\u003c/i> happen—and I feel like a lot of places at least say that’s where they want to go—we also want to move away from tokenism,” says Pardo Ariza, who works in YBCA’s civic engagement department. “It’s not just having one woman preparator or one POC working there. It’s about actually making the place run by different peoples and bodies and abilities.”\u003c/p>\n\u003cp>“It’s so important to have a diverse workplace,” says Trataris. “Communication styles and methods are better when you have a diverse group of people because you realize the limits of your own communication style. And better communication styles make for a more open work environment and make it easier on an international basis. I think it just makes a better prep world.”\u003c/p>\n\u003cp>“—or any world!” Pardo Ariza adds.\u003c/p>\n\u003cp>Other events, such as a recent visit to the \u003ca href=\"https://www.sfmoma.org/library-archives/about-collections-center/\" target=\"_blank\" rel=\"noopener\">SFMOMA Collections Center\u003c/a> in South San Francisco give W*AH members rare access to the inner workings of the Bay Area art world. In the climate-controlled warehouse filled to the brim with crated and wrapped artwork, SFMOMA employees walked 15 art handlers through their approaches to staging, conditioning, conserving and shipping art. It was a p\u003cspan style=\"font-weight: 400\">rivilege Trataris is fully aware of. She credits her own time working at the Collections Center as two years of pure art education—now she wants to share that breadth of knowledge with W*AH. \u003c/span>\u003c/p>\n\u003cp>“For me it became all about figuring out how institutions work,” she says. “Being a preparator allowed me to explore what is a gallery, what is a museum, what is an art school, what is the Venice Biennale? I could understand the art world in a big scope through prep work.”\u003c/p>\n\u003cp>The challenges W*AH faces—of bringing new voices into a male-dominated workplace and breaking down old structures of gatekeeping—are not unique to the field of art handling, but Pardo Ariza and Trataris approach the task with a sense of purpose.\u003c/p>\n\u003cp>“Ideally all these relationships we’re building are also artistic relationships,” Pardo Ariza says, “where we’re supporting each other’s work and we’re getting to know each other better. We’re creating a stronger community for all of us in a place where people are constantly moving away.”\u003c/p>\n\u003cp>Their long-term goals include organizing art handlers to advocate for higher pay across the board. (At the most recent meet-up, those gathered listed pay rates at various Bay Area museums in the $20–25-per-hour range.) Trataris wants to see this type of physical labor credited in exhibition-making, alongside the names of curators or lending institutions, as equally important to the finished presentation. And ultimately, W*AH wants to change the industry completely.\u003c/p>\n\u003cp>“I mean ideally-ideally—and I don’t know how many years this takes—it does so well it doesn’t have to exist anymore,” says Trataris.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pardo Ariza agrees: “I think that was the mic-dropper.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ruffled Feathers: Can Birds and Music Festivals Share Middle Harbor Park?",
"headTitle": "Ruffled Feathers: Can Birds and Music Festivals Share Middle Harbor Park? | KQED",
"content": "\u003cp>Nestled along the southwestern-most corner of Oakland is \u003ca href=\"https://www.portofoakland.com/port/seaport/middle-harbor/\" rel=\"noopener\" target=\"_blank\">Middle Harbor Shoreline Park\u003c/a>, a crescent-shaped greenbelt and public beach stretched beneath Port of Oakland cranes. \u003c/p>\n\u003cp>The remote park is Megan Jankowski’s “patch,” birdwatcher lingo for a site of regular study. Dramatically set against the San Francisco skyline, sandbars and rocks within Middle Harbor’s shallow shore water provide roosting and feeding terrain for myriad species of birds. On Sunday, Jankowski convened a dozen or so binocular-toting birders at the mast of the USS Oakland, which greets visitors in the parking lot, to describe the site’s wintering waterfowl and shorebirds.\u003c/p>\n\u003cfigure id=\"attachment_13843472\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Middle_Harbor_450w_32c.gif\" alt=\"Map of Middle Harbor Shoreline Park.\" width=\"450\" height=\"292\" class=\"size-full wp-image-13843472\">\u003cfigcaption class=\"wp-caption-text\">Map of Middle Harbor Shoreline Park. \u003ccite>(Port of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jankowski, 37, who works in real estate, also noted that the park hosted \u003ca href=\"https://www.kqed.org/arts/13842744/treasure-islands-new-oakland-edition-a-success-now-its-time-to-mix-genres\" rel=\"noopener\" target=\"_blank\">Treasure Island Music Festival\u003c/a> a week prior, and that a smaller event featuring DJs and a jump-house was scheduled for that afternoon. “If you don’t like electronic music, you might be annoyed,” she told the crowd.\u003c/p>\n\u003cp>A birder carrying a tripod-mounted telescope asked Jankowski—who records avian activity at the park twice a month as part of her “master birder” training through the \u003ca href=\"https://goldengateaudubon.org/\" rel=\"noopener\" target=\"_blank\">Golden Gate Audubon Society\u003c/a>—a question she’s lately asked herself: “How do the \u003ca href=\"https://www.audubon.org/field-guide/bird/ruddy-duck\" target=\"_blank\" rel=\"noopener\">Ruddy Ducks\u003c/a> feel about electronic music?”\u003c/p>\n\u003cp>Jankowski smiled, “We’ll see.” Then she recognized a passing \u003ca href=\"https://www.audubon.org/field-guide/bird/annas-hummingbird\" rel=\"noopener\" target=\"_blank\">Anna’s Hummingbird\u003c/a> solely by the squeaking sound of its tail-feathers at the bottom of a dive, the first of 38 species observed and identified by the group that afternoon.\u003c/p>\n\u003cfigure id=\"attachment_13843470\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-800x577.jpg\" alt=\"Birders look for waterfowl.\" width=\"800\" height=\"577\" class=\"size-medium wp-image-13843470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-768x554.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1020x736.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1200x866.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1920x1385.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1180x851.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-960x692.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-520x375.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl..jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Birders look for waterfowl. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2018, the Port of Oakland-owned and operated park hosted three music festivals attended by more than 4,000 people; Treasure Island and Blurry Vision each drew more than 10,000 people over both festivals’ two-day runs. Jankowski is among the community members and conservationists concerned about the events’ impact on the park wildlife. She worries that the increasing rate and size of the festivals, and lack of environmentally-conscious conditions, runs against the port’s efforts to improve the habitat for birds, including endangered \u003ca href=\"https://www.audubon.org/field-guide/bird/least-tern\" target=\"_blank\" rel=\"noopener\">Least Terns\u003c/a> and threatened \u003ca href=\"https://www.audubon.org/field-guide/bird/snowy-plover\" target=\"_blank\" rel=\"noopener\">Snowy Plovers\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Non-birders, I call them muggles,” Jankowski said, invoking J.K. Rowling’s term for un-magical people to describe the general population’s indifference to birds. “I know it’s divisive, but I love in \u003cem>Harry Potter\u003c/em> when he asks the guy on the night bus, ‘Don’t the muggles see the night bus?’ And the night bus guy says to him, ‘No, the muggles don’t see anything, do they?’”\u003c/p>\n\u003cp>At Middle Harbor, birds and music festivals are vying for the same physical space. After \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" rel=\"noopener\" target=\"_blank\">Blurry Vision\u003c/a>, a Goldenvoice production headlined by Migos and SZA in May, Jankowski found killdeer fledglings roaming what’d been the stage area. On Sunday, she pointed out bushtit and crow nests on the Treasure Island Music Festival grounds. \u003c/p>\n\u003cp>Shorebirds visiting in the fall and winter are especially vulnerable to disturbance, she said. “Later in the season ahead of migration, it’s important for them to be constantly eating or resting.” Still, Jankowski admits, the area is a park, not a wildlife refuge, and it’s difficult to quantify the birds’ tolerance for crowds and noise.\u003c/p>\n\u003cp>Bay Area municipalities closely regulate changes of use in public spaces. The San Francisco Recreation & Parks Department requires Another Planet Entertainment (APE), which coproduces the Treasure Island Music Festival with Noise Pop, to rent special forklifts with \u003ca href=\"https://www.eastbayexpress.com/oakland/gregg-perloff-is-the-new-bill-graham/Content?oid=1091223\" target=\"_blank\" rel=\"noopener\">gopher-friendly tires\u003c/a> in order to throw Outside Lands in Golden Gate Park. Berkeley commissioned a \u003ca href=\"https://www.cityofberkeley.info/uploadedFiles/Parks_Rec_Waterfront/Level_3__-General/Aquatic%20Park-finalrpt-V31.pdf\" target=\"_blank\" rel=\"noopener\">study\u003c/a> of the effects of recreational watercraft on the birds at Aquatic Park. But Port of Oakland contracts with APE and Goldenvoice, which KQED reviewed, include no park-specific environmental stipulations aside from cleanup. For this year’s concerts, the festival producers each paid the port more than $30,000 in rental fees. \u003c/p>\n\u003cfigure id=\"attachment_13843453\" 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/MG_0215-800x533.jpg\" alt=\"Birders and port officials agree the park is underused.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13843453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Birders and port officials agree the park is underused. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shoreline is part of the Middle Harbor Enhancement Area, an ambitious port and US Army Corps of Engineers project to restore salt marsh and shallow tideland habitat to some 180 acres of waterfront. A \u003ca href=\"https://www.portofoakland.com/files/PDF/MMM%20Plan%20-%20MHEA.pdf\" rel=\"noopener\" target=\"_blank\">2001 report\u003c/a> by port consultants includes goals such as “increase habitat benefits for aquatic birds” and “identify any conflicts between public access and habitat development.” Port spokesperson Michael Zampa said the festivals are part of balancing public access and environmental stewardship. “At all of our events, we’re mindful that the park is adjacent to a sensitive natural habitat,” he said. “After all, we helped create the habitat.”\u003c/p>\n\u003cp>Jankowski and port officials agree that the park is underused, an oasis separated from West Oakland by acres of shipping containers and barren roads known for late-night sideshows. (One afternoon, Jankowski was robbed in the parking lot.) But Jankowski fears that marketing the park via music festivals threatens part of what makes Middle Harbor a naturalist destination and a “jewel within the port,” saying the agency should better study the effects of crowds, fireworks and noise. \u003c/p>\n\u003cp>In regards to increased festival size and frequency, Zampa said on average, Middle Harbor hosts only two events a year with more than 1,000 people in attendance. In answer to concerns about pyrotechnics during Treasure Island, he said a performer used fireworks for only 15 seconds before officials intervened. And as far as studies informing potential conditions on events, Zampa said the port took the “above-and-beyond step” of hiring Horizon Water and Environment to monitor birds during Treasure Island, but the findings aren’t yet available.\u003c/p>\n\u003cp>“Our intent is to open the shoreline to the public and to develop/preserve the ecosystem,” he said. “We believe those two goals are compatible, but we must be watchful for negative impacts.”\u003c/p>\n\u003cp>At Middle Harbor on Sunday, the main detectable aftermath of Treasure Island Music Festival was a dustbowl where there was once grass. House beats from the small afternoon party, along with the buzz of a gas-powered generator, echoed faintly throughout much of the park, but only as loudly as the beeps and clangs of port machinery offloading an international freighter.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Shorebirds including species of sandpiper, egret, heron, gull and tern sprawled across the sandbars at low tide. When they suddenly up and flocked, the birders looked to the sky for predators, and saw the first \u003ca href=\"https://www.audubon.org/field-guide/bird/northern-harrier\" rel=\"noopener\" target=\"_blank\">Northern Harrier hawk\u003c/a> Jankowski has recorded at Middle Harbor. But there was a conspicuous lack of Ruddy Ducks.\u003c/p>\n\n",
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"excerpt": "Birdwatchers worry an uptick in festival programming runs against the Port of Oakland’s habitat restoration project at Middle Harbor Shoreline Park.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nestled along the southwestern-most corner of Oakland is \u003ca href=\"https://www.portofoakland.com/port/seaport/middle-harbor/\" rel=\"noopener\" target=\"_blank\">Middle Harbor Shoreline Park\u003c/a>, a crescent-shaped greenbelt and public beach stretched beneath Port of Oakland cranes. \u003c/p>\n\u003cp>The remote park is Megan Jankowski’s “patch,” birdwatcher lingo for a site of regular study. Dramatically set against the San Francisco skyline, sandbars and rocks within Middle Harbor’s shallow shore water provide roosting and feeding terrain for myriad species of birds. On Sunday, Jankowski convened a dozen or so binocular-toting birders at the mast of the USS Oakland, which greets visitors in the parking lot, to describe the site’s wintering waterfowl and shorebirds.\u003c/p>\n\u003cfigure id=\"attachment_13843472\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Middle_Harbor_450w_32c.gif\" alt=\"Map of Middle Harbor Shoreline Park.\" width=\"450\" height=\"292\" class=\"size-full wp-image-13843472\">\u003cfigcaption class=\"wp-caption-text\">Map of Middle Harbor Shoreline Park. \u003ccite>(Port of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jankowski, 37, who works in real estate, also noted that the park hosted \u003ca href=\"https://www.kqed.org/arts/13842744/treasure-islands-new-oakland-edition-a-success-now-its-time-to-mix-genres\" rel=\"noopener\" target=\"_blank\">Treasure Island Music Festival\u003c/a> a week prior, and that a smaller event featuring DJs and a jump-house was scheduled for that afternoon. “If you don’t like electronic music, you might be annoyed,” she told the crowd.\u003c/p>\n\u003cp>A birder carrying a tripod-mounted telescope asked Jankowski—who records avian activity at the park twice a month as part of her “master birder” training through the \u003ca href=\"https://goldengateaudubon.org/\" rel=\"noopener\" target=\"_blank\">Golden Gate Audubon Society\u003c/a>—a question she’s lately asked herself: “How do the \u003ca href=\"https://www.audubon.org/field-guide/bird/ruddy-duck\" target=\"_blank\" rel=\"noopener\">Ruddy Ducks\u003c/a> feel about electronic music?”\u003c/p>\n\u003cp>Jankowski smiled, “We’ll see.” Then she recognized a passing \u003ca href=\"https://www.audubon.org/field-guide/bird/annas-hummingbird\" rel=\"noopener\" target=\"_blank\">Anna’s Hummingbird\u003c/a> solely by the squeaking sound of its tail-feathers at the bottom of a dive, the first of 38 species observed and identified by the group that afternoon.\u003c/p>\n\u003cfigure id=\"attachment_13843470\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-800x577.jpg\" alt=\"Birders look for waterfowl.\" width=\"800\" height=\"577\" class=\"size-medium wp-image-13843470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-768x554.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1020x736.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1200x866.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1920x1385.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1180x851.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-960x692.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-520x375.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl..jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Birders look for waterfowl. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2018, the Port of Oakland-owned and operated park hosted three music festivals attended by more than 4,000 people; Treasure Island and Blurry Vision each drew more than 10,000 people over both festivals’ two-day runs. Jankowski is among the community members and conservationists concerned about the events’ impact on the park wildlife. She worries that the increasing rate and size of the festivals, and lack of environmentally-conscious conditions, runs against the port’s efforts to improve the habitat for birds, including endangered \u003ca href=\"https://www.audubon.org/field-guide/bird/least-tern\" target=\"_blank\" rel=\"noopener\">Least Terns\u003c/a> and threatened \u003ca href=\"https://www.audubon.org/field-guide/bird/snowy-plover\" target=\"_blank\" rel=\"noopener\">Snowy Plovers\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Non-birders, I call them muggles,” Jankowski said, invoking J.K. Rowling’s term for un-magical people to describe the general population’s indifference to birds. “I know it’s divisive, but I love in \u003cem>Harry Potter\u003c/em> when he asks the guy on the night bus, ‘Don’t the muggles see the night bus?’ And the night bus guy says to him, ‘No, the muggles don’t see anything, do they?’”\u003c/p>\n\u003cp>At Middle Harbor, birds and music festivals are vying for the same physical space. After \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" rel=\"noopener\" target=\"_blank\">Blurry Vision\u003c/a>, a Goldenvoice production headlined by Migos and SZA in May, Jankowski found killdeer fledglings roaming what’d been the stage area. On Sunday, she pointed out bushtit and crow nests on the Treasure Island Music Festival grounds. \u003c/p>\n\u003cp>Shorebirds visiting in the fall and winter are especially vulnerable to disturbance, she said. “Later in the season ahead of migration, it’s important for them to be constantly eating or resting.” Still, Jankowski admits, the area is a park, not a wildlife refuge, and it’s difficult to quantify the birds’ tolerance for crowds and noise.\u003c/p>\n\u003cp>Bay Area municipalities closely regulate changes of use in public spaces. The San Francisco Recreation & Parks Department requires Another Planet Entertainment (APE), which coproduces the Treasure Island Music Festival with Noise Pop, to rent special forklifts with \u003ca href=\"https://www.eastbayexpress.com/oakland/gregg-perloff-is-the-new-bill-graham/Content?oid=1091223\" target=\"_blank\" rel=\"noopener\">gopher-friendly tires\u003c/a> in order to throw Outside Lands in Golden Gate Park. Berkeley commissioned a \u003ca href=\"https://www.cityofberkeley.info/uploadedFiles/Parks_Rec_Waterfront/Level_3__-General/Aquatic%20Park-finalrpt-V31.pdf\" target=\"_blank\" rel=\"noopener\">study\u003c/a> of the effects of recreational watercraft on the birds at Aquatic Park. But Port of Oakland contracts with APE and Goldenvoice, which KQED reviewed, include no park-specific environmental stipulations aside from cleanup. For this year’s concerts, the festival producers each paid the port more than $30,000 in rental fees. \u003c/p>\n\u003cfigure id=\"attachment_13843453\" 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/MG_0215-800x533.jpg\" alt=\"Birders and port officials agree the park is underused.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13843453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Birders and port officials agree the park is underused. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shoreline is part of the Middle Harbor Enhancement Area, an ambitious port and US Army Corps of Engineers project to restore salt marsh and shallow tideland habitat to some 180 acres of waterfront. A \u003ca href=\"https://www.portofoakland.com/files/PDF/MMM%20Plan%20-%20MHEA.pdf\" rel=\"noopener\" target=\"_blank\">2001 report\u003c/a> by port consultants includes goals such as “increase habitat benefits for aquatic birds” and “identify any conflicts between public access and habitat development.” Port spokesperson Michael Zampa said the festivals are part of balancing public access and environmental stewardship. “At all of our events, we’re mindful that the park is adjacent to a sensitive natural habitat,” he said. “After all, we helped create the habitat.”\u003c/p>\n\u003cp>Jankowski and port officials agree that the park is underused, an oasis separated from West Oakland by acres of shipping containers and barren roads known for late-night sideshows. (One afternoon, Jankowski was robbed in the parking lot.) But Jankowski fears that marketing the park via music festivals threatens part of what makes Middle Harbor a naturalist destination and a “jewel within the port,” saying the agency should better study the effects of crowds, fireworks and noise. \u003c/p>\n\u003cp>In regards to increased festival size and frequency, Zampa said on average, Middle Harbor hosts only two events a year with more than 1,000 people in attendance. In answer to concerns about pyrotechnics during Treasure Island, he said a performer used fireworks for only 15 seconds before officials intervened. And as far as studies informing potential conditions on events, Zampa said the port took the “above-and-beyond step” of hiring Horizon Water and Environment to monitor birds during Treasure Island, but the findings aren’t yet available.\u003c/p>\n\u003cp>“Our intent is to open the shoreline to the public and to develop/preserve the ecosystem,” he said. “We believe those two goals are compatible, but we must be watchful for negative impacts.”\u003c/p>\n\u003cp>At Middle Harbor on Sunday, the main detectable aftermath of Treasure Island Music Festival was a dustbowl where there was once grass. House beats from the small afternoon party, along with the buzz of a gas-powered generator, echoed faintly throughout much of the park, but only as loudly as the beeps and clangs of port machinery offloading an international freighter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shorebirds including species of sandpiper, egret, heron, gull and tern sprawled across the sandbars at low tide. When they suddenly up and flocked, the birders looked to the sky for predators, and saw the first \u003ca href=\"https://www.audubon.org/field-guide/bird/northern-harrier\" rel=\"noopener\" target=\"_blank\">Northern Harrier hawk\u003c/a> Jankowski has recorded at Middle Harbor. But there was a conspicuous lack of Ruddy Ducks.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "No Visa Necessary to Hear Music of 'Banned Countries' with Kronos Quartet",
"headTitle": "No Visa Necessary to Hear Music of ‘Banned Countries’ with Kronos Quartet | KQED",
"content": "\u003cp>The\u003ca href=\"https://www.kronosquartet.org\" target=\"_blank\" rel=\"noopener\"> Kronos Quartet\u003c/a> has a long history of performing music with a political edge. \u003ca href=\"https://live.stanford.edu/calendar/october-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">\u003cem>Music for Change: The Banned Countries\u003c/em>,\u003c/a> coming up Saturday at Stanford’s Bing Concert Hall, is no exception.\u003ci>\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>After the Trump administration issued executive orders limiting travel from majority-Muslim countries last year, the director of Stanford’s Iranian Studies program, \u003ca href=\"https://web.stanford.edu/group/abbasmilani/cgi-bin/wordpress/\" target=\"_blank\" rel=\"noopener\">Abbas Milani\u003c/a>, was upset.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>“It’s shameful on a human basis. But it’s also destructive to the fabric of culture in this country. And, I would submit, to the long-term strategic interest of this country,” Milani says.\u003c/p>\n\u003cp>Then he got an idea. Melani contacted the Kronos Quartet, long known for provocative collaborations. The pitch: music from “banned” countries—Iran, Iraq, Libya, Somalia, Sudan, Syria and Yemen—the \u003ca href=\"https://www.nytimes.com/2017/01/27/us/politics/trump-syrian-refugees.html\" target=\"_blank\" rel=\"noopener\">original seven\u003c/a> named by the Trump administration before it tweaked the list to pass legal muster.\u003c/p>\n\u003cp>Not that this would be the first time the Kronos Quartet has performed music from these countries or worked directly with artists originally from these countries. The program includes a number of works Kronos has performed for decades, like Islam Chipsy’s \u003cem>Zaghlala \u003c/em>arranged for a string quartet by Jacob Garchik\u003cem>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=FK7pgcNFCFU]\u003c/p>\n\u003cp>The subtitle of the piece is \u003ci>Blurred vision caused by strong light hitting the eyes. \u003c/i>You can search for information about Chipsy on the World Wide Web, or you can find him on \u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers/islam-chipsy\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s website\u003c/a>, where the artist is one of many profiled for the English-speaking world’s convenience:\u003c/p>\n\u003cblockquote>\u003cp>Part of Egypt’s thriving underground music scene, Chipsy’s EEK trio has carved out a singular sonic niche distinct from the electro-chaabi artists who are almost required at wedding celebrations. Raw and lo-fi, his music is both virtuosic and unabashedly hand-crafted.\u003c/p>\u003c/blockquote>\n\u003cp>The program also includes new music commissioned specifically for this concert series, like \u003cem>Winds from South \u003c/em>from the Iranian composer \u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers/aftab-darvishi\" target=\"_blank\" rel=\"noopener\">Aftab Darvishi \u003c/a>and Dur-Dur Band’s \u003cem>Dooyo. \u003c/em>\u003ca href=\"https://www.npr.org/2013/05/05/180871371/a-funky-fresh-sound-from-somalia-with-a-political-history\" target=\"_blank\" rel=\"noopener\">Dur-Dur Band\u003c/a>, for those unfamiliar with the Mogadishu nightclub scene of the 1980s, delightedly blends funk, disco, and soul. Arranged by film score composer Jacob Garchik, it’s easy to imagine Garchik and the band landing new contracts scoring films.\u003c/p>\n\u003cp>Perhaps it’s not surprising then that\u003cem> Music for Change \u003c/em>doesn’t limit itself to the “banned” countries. This concert series is yet another opportunity for the quartet to celebrate music and musicians it loves from all over the Middle East, Asia and Africa.\u003c/p>\n\u003cp>“The music of the founders of the string quartet: Hayden, Mozart, Beethoven, Schubert,” says Kronos founder and first violinist David Harrington. “For many years, they were the only composers whose work I knew. When I was about 14, I took a look at the globe that was in my room, and I had this moment of realization. All the string quartet music I’ve ever heard was written by four guys who spoke the same language, were of the same religion, and they lived in the same city at one point or another. And that seemed really weird.”\u003c/p>\n\u003cp>Harrington says the concert “is an exploration of life, of culture, of sound, of music.” But he’s come to learn it’s not just the U.S. that bans people or considers certain cultural communication dangerous. “There are places in the world right now where there are things you can’t listen to, you’re forbidden to hear.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=7PQYF4-BbrE&w=560&h=315]”They’re scholars of music,” says Milani of Kronos. “They put time into it. Behind every concert, there are months and months of training and rigorous scholarship.”\u003c/p>\n\u003cp>Praising the quartet’s “impeccable taste,” Milani notes Harrington was already so well-versed in the music of the Middle East and Africa, he had ideas about who and what to highlight from the first meeting.\u003c/p>\n\u003cp>“He went through the people, right off the top of his head, that he knew existed. I was just flabbergasted at how clearly ready he was,” Milani marveled.\u003c/p>\n\u003cp>After Stanford, but the Kronos Quartet heads to Europe and the East Coast to perform music from banned countries there, too.\u003c/p>\n\u003cul>\n\u003cli>12/4 — Santa Barbara, California: UC Santa Barbara Arts and Lectures\u003c/li>\n\u003cli>2/8/19 — New York, New York: Carnegie Hall\u003c/li>\n\u003cli>3/2/19 — Washington D.C.: Washington Performing Arts\u003c/li>\n\u003cli>5/9/19 — Sonoma, California: Green Music Center\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem> Music for Change: the Banned Countries\u003c/em>\u003c/strong> is one night only, Oct. 20, 2018, at Stanford’s Bing Concert Hall, More information \u003ca href=\"https://live.stanford.edu/calendar/october-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The\u003ca href=\"https://www.kronosquartet.org\" target=\"_blank\" rel=\"noopener\"> Kronos Quartet\u003c/a> has a long history of performing music with a political edge. \u003ca href=\"https://live.stanford.edu/calendar/october-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">\u003cem>Music for Change: The Banned Countries\u003c/em>,\u003c/a> coming up Saturday at Stanford’s Bing Concert Hall, is no exception.\u003ci>\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>After the Trump administration issued executive orders limiting travel from majority-Muslim countries last year, the director of Stanford’s Iranian Studies program, \u003ca href=\"https://web.stanford.edu/group/abbasmilani/cgi-bin/wordpress/\" target=\"_blank\" rel=\"noopener\">Abbas Milani\u003c/a>, was upset.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>“It’s shameful on a human basis. But it’s also destructive to the fabric of culture in this country. And, I would submit, to the long-term strategic interest of this country,” Milani says.\u003c/p>\n\u003cp>Then he got an idea. Melani contacted the Kronos Quartet, long known for provocative collaborations. The pitch: music from “banned” countries—Iran, Iraq, Libya, Somalia, Sudan, Syria and Yemen—the \u003ca href=\"https://www.nytimes.com/2017/01/27/us/politics/trump-syrian-refugees.html\" target=\"_blank\" rel=\"noopener\">original seven\u003c/a> named by the Trump administration before it tweaked the list to pass legal muster.\u003c/p>\n\u003cp>Not that this would be the first time the Kronos Quartet has performed music from these countries or worked directly with artists originally from these countries. The program includes a number of works Kronos has performed for decades, like Islam Chipsy’s \u003cem>Zaghlala \u003c/em>arranged for a string quartet by Jacob Garchik\u003cem>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/FK7pgcNFCFU'\n title='//www.youtube.com/embed/FK7pgcNFCFU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The subtitle of the piece is \u003ci>Blurred vision caused by strong light hitting the eyes. \u003c/i>You can search for information about Chipsy on the World Wide Web, or you can find him on \u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers/islam-chipsy\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s website\u003c/a>, where the artist is one of many profiled for the English-speaking world’s convenience:\u003c/p>\n\u003cblockquote>\u003cp>Part of Egypt’s thriving underground music scene, Chipsy’s EEK trio has carved out a singular sonic niche distinct from the electro-chaabi artists who are almost required at wedding celebrations. Raw and lo-fi, his music is both virtuosic and unabashedly hand-crafted.\u003c/p>\u003c/blockquote>\n\u003cp>The program also includes new music commissioned specifically for this concert series, like \u003cem>Winds from South \u003c/em>from the Iranian composer \u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers/aftab-darvishi\" target=\"_blank\" rel=\"noopener\">Aftab Darvishi \u003c/a>and Dur-Dur Band’s \u003cem>Dooyo. \u003c/em>\u003ca href=\"https://www.npr.org/2013/05/05/180871371/a-funky-fresh-sound-from-somalia-with-a-political-history\" target=\"_blank\" rel=\"noopener\">Dur-Dur Band\u003c/a>, for those unfamiliar with the Mogadishu nightclub scene of the 1980s, delightedly blends funk, disco, and soul. Arranged by film score composer Jacob Garchik, it’s easy to imagine Garchik and the band landing new contracts scoring films.\u003c/p>\n\u003cp>Perhaps it’s not surprising then that\u003cem> Music for Change \u003c/em>doesn’t limit itself to the “banned” countries. This concert series is yet another opportunity for the quartet to celebrate music and musicians it loves from all over the Middle East, Asia and Africa.\u003c/p>\n\u003cp>“The music of the founders of the string quartet: Hayden, Mozart, Beethoven, Schubert,” says Kronos founder and first violinist David Harrington. “For many years, they were the only composers whose work I knew. When I was about 14, I took a look at the globe that was in my room, and I had this moment of realization. All the string quartet music I’ve ever heard was written by four guys who spoke the same language, were of the same religion, and they lived in the same city at one point or another. And that seemed really weird.”\u003c/p>\n\u003cp>Harrington says the concert “is an exploration of life, of culture, of sound, of music.” But he’s come to learn it’s not just the U.S. that bans people or considers certain cultural communication dangerous. “There are places in the world right now where there are things you can’t listen to, you’re forbidden to hear.\u003c/p>\n\u003cp>\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/7PQYF4-BbrE'\n title='//www.youtube.com/embed/7PQYF4-BbrE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>”They’re scholars of music,” says Milani of Kronos. “They put time into it. Behind every concert, there are months and months of training and rigorous scholarship.”\u003c/p>\n\u003cp>Praising the quartet’s “impeccable taste,” Milani notes Harrington was already so well-versed in the music of the Middle East and Africa, he had ideas about who and what to highlight from the first meeting.\u003c/p>\n\u003cp>“He went through the people, right off the top of his head, that he knew existed. I was just flabbergasted at how clearly ready he was,” Milani marveled.\u003c/p>\n\u003cp>After Stanford, but the Kronos Quartet heads to Europe and the East Coast to perform music from banned countries there, too.\u003c/p>\n\u003cul>\n\u003cli>12/4 — Santa Barbara, California: UC Santa Barbara Arts and Lectures\u003c/li>\n\u003cli>2/8/19 — New York, New York: Carnegie Hall\u003c/li>\n\u003cli>3/2/19 — Washington D.C.: Washington Performing Arts\u003c/li>\n\u003cli>5/9/19 — Sonoma, California: Green Music Center\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem> Music for Change: the Banned Countries\u003c/em>\u003c/strong> is one night only, Oct. 20, 2018, at Stanford’s Bing Concert Hall, More information \u003ca href=\"https://live.stanford.edu/calendar/october-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco visual arts nonprofit \u003ca href=\"https://soex.org/\" rel=\"noopener\" target=\"_blank\">Southern Exposure\u003c/a> announced Thursday that its Executive Director Patricia Maloney, who has held the position since March 2016, will resign at the end of 2018.\u003c/p>\n\u003cp>“Over the past several months, the staff and Board of Southern Exposure have undertaken the work collectively to reconceive organizational roles in order to fully support the organization’s mission and operating values,” an announcement sent by Maloney to the nonprofit’s email list reads. “In the process of undertaking this realignment, and to ensure the organization’s new needs are met, I have made the decision to step down as Executive Director at the end of this year.”\u003c/p>\n\u003cp>Maloney entered the role following the departure of previous executive director \u003ca href=\"https://www.kqed.org/arts/10840011/arts-shake-up-longtime-executive-director-leaves-southern-exposure\" rel=\"noopener\" target=\"_blank\">Courtney Fink\u003c/a>, who held the position for 13 years. Leigh Lehman, who worked as the interim executive director after Fink’s departure, will return to Southern Exposure in November to co-direct the organization with newly promoted Artistic Director Valerie Imus as Maloney moves into a consulting role. The board of directors will launch a search for the next ED within Southern Exposure’s new organizational structure in early 2019. \u003c/p>\n\u003cp>“Southern Exposure is evolving and we are sad to see Patricia go,” says Imus, who has been the exhibitions and projects program director at Southern Exposure since 2011. “We’re very excited about the future. This kind of co-leadership thinking is in some ways an evolution of the original artistic collective model that SoEx was founded on. And it’s also thinking about what an institution needs to be right now.”\u003c/p>\n\u003cp>Maloney’s planned resignation comes at the end of a year of personnel instability for the nonprofit, which has traditionally employed a full-time staff of five, including the ED. In February, Vreni Michelini Castillo, who was hired as a part-time paid \u003ca href=\"https://soex.org/news/2017/09/21/southern-exposures-new-development-fellow-vreni-michelini-castillo\" rel=\"noopener\" target=\"_blank\">development fellow\u003c/a> to assist with the Alternative Exposure grant program and Southern Exposure’s annual auction, left the organization four months in advance of the June 2018 end of her fellowship. Associate Director Nick Wylie and Director of Artists in Education Maya Gomez left their positions in late February, and Communications Director Lisa Martin left in early March. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The “realignment” of Southern Exposure’s staffing will result in a more horizontal structure, Maloney says. “The ED role is shifting much more into a fundraising role—that’s not where my core strength is” she says of her decision to resign.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to Imus, the Southern Exposure staff now includes a full-time engagement coordinator, a part-time artist-in-education facilitator and a part-time lead preparator. The nonprofit will post an opening for an external relations manager next week; they seek to fill the position as soon as possible.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco visual arts nonprofit \u003ca href=\"https://soex.org/\" rel=\"noopener\" target=\"_blank\">Southern Exposure\u003c/a> announced Thursday that its Executive Director Patricia Maloney, who has held the position since March 2016, will resign at the end of 2018.\u003c/p>\n\u003cp>“Over the past several months, the staff and Board of Southern Exposure have undertaken the work collectively to reconceive organizational roles in order to fully support the organization’s mission and operating values,” an announcement sent by Maloney to the nonprofit’s email list reads. “In the process of undertaking this realignment, and to ensure the organization’s new needs are met, I have made the decision to step down as Executive Director at the end of this year.”\u003c/p>\n\u003cp>Maloney entered the role following the departure of previous executive director \u003ca href=\"https://www.kqed.org/arts/10840011/arts-shake-up-longtime-executive-director-leaves-southern-exposure\" rel=\"noopener\" target=\"_blank\">Courtney Fink\u003c/a>, who held the position for 13 years. Leigh Lehman, who worked as the interim executive director after Fink’s departure, will return to Southern Exposure in November to co-direct the organization with newly promoted Artistic Director Valerie Imus as Maloney moves into a consulting role. The board of directors will launch a search for the next ED within Southern Exposure’s new organizational structure in early 2019. \u003c/p>\n\u003cp>“Southern Exposure is evolving and we are sad to see Patricia go,” says Imus, who has been the exhibitions and projects program director at Southern Exposure since 2011. “We’re very excited about the future. This kind of co-leadership thinking is in some ways an evolution of the original artistic collective model that SoEx was founded on. And it’s also thinking about what an institution needs to be right now.”\u003c/p>\n\u003cp>Maloney’s planned resignation comes at the end of a year of personnel instability for the nonprofit, which has traditionally employed a full-time staff of five, including the ED. In February, Vreni Michelini Castillo, who was hired as a part-time paid \u003ca href=\"https://soex.org/news/2017/09/21/southern-exposures-new-development-fellow-vreni-michelini-castillo\" rel=\"noopener\" target=\"_blank\">development fellow\u003c/a> to assist with the Alternative Exposure grant program and Southern Exposure’s annual auction, left the organization four months in advance of the June 2018 end of her fellowship. Associate Director Nick Wylie and Director of Artists in Education Maya Gomez left their positions in late February, and Communications Director Lisa Martin left in early March. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The “realignment” of Southern Exposure’s staffing will result in a more horizontal structure, Maloney says. “The ED role is shifting much more into a fundraising role—that’s not where my core strength is” she says of her decision to resign.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to Imus, the Southern Exposure staff now includes a full-time engagement coordinator, a part-time artist-in-education facilitator and a part-time lead preparator. The nonprofit will post an opening for an external relations manager next week; they seek to fill the position as soon as possible.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Are Those Strange Sounds in the Air at the New Berkeley BART Plaza?",
"headTitle": "What Are Those Strange Sounds in the Air at the New Berkeley BART Plaza? | KQED",
"content": "\u003cp>The first thing East Bay educator and composer Chris Brown noticed about the new plaza atop downtown Berkeley’s BART station wasn’t the incandescent globe sculpture or LED stage lights but the speakers: eight of them in weatherproof casing, each mounted on the top of a 21-foot pole. “They aren’t arranged in a circle or a square,” he said. “They’re facing inwards—so people will walk through a sound hallway.”\u003c/p>\n\u003cp>Brown is the first participant in a unique series of public sound art installations at the renovated transit plaza. He created an audio collage called \u003cem>Flow in Place\u003c/em> from hours of field recordings—snippets of parties, performances, and unplaceable din—collected on three continents over the past 25 years. Each of the piece’s 140 fragments sweeps from one end of the eight-channel speaker array to the other; during a test last week, the ebb and flow felt enveloping, even pleasantly disorienting.\u003c/p>\n\u003cp>“I’ve thought about the installation as being analogous to an aquarium, where fish swim back and forth,” Brown said. “I also hope to see some commuters skipping.”\u003c/p>\n\u003cp>The plaza, which will also feature a Michael Christian sculpture and performances programmed by Taylor Street Production, debuts with a celebration this Thursday, Oct. 18. \u003cem>Flow in Place\u003c/em>, the first of ten sound art commissions, will run 7am to 10pm for two months, followed by works from artists including Maggi Payne, Danny Clay, Edmund Campion and Jim McKee. Jennifer Lovvorn, the city’s new chief cultural affairs officer, said the speakers and plaza are meant to be a platform for experimental music in the Bay Area, and to join the Berkeley Art Museum, UC Theater, and incoming \u003ca href=\"https://www.cityofberkeley.info/City_Manager/Civic_Arts/Public_Art_Galleries.aspx\">Cube Space\u003c/a> in cementing downtown Berkeley as an arts and culture destination.\u003c/p>\n\u003cp>Sound is a relatively undeveloped field of public art, but there are precedents: In New York, the amplified hum of a tunnel junction emanates from beneath an unmarked grate in Max Neuhaus’ \u003cem>Times Square\u003c/em>. In San Francisco, Bill Fontana’s field recordings play from the side of the North Beach library branch in \u003cem>Sonic Dreamscape\u003c/em>. Still, to Lovvorn’s knowledge, there isn’t a permanent, eight-or-more-channel speaker system for revolving sound installations sponsored by another city in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13843010\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg\" alt=\"BugID installed the sound system. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BugID installed the sound system. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plaza renovation began years ago, and Lovvorn said it occurred to Berkeley civic arts commissioners to retrofit the light poles with speakers accommodating sound art in perpetuity. “Rather than just doing a permanent sculpture at the site, the commissioners chose to create a platform to present a sound series,” she said. The cost of the Meyer Sound speakers, custom installation and ongoing technical support by BugID and $4,000 stipends for commissioned artists is nearly $350,000. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although some businesses use sound (particularly \u003ca href=\"http://latimesblogs.latimes.com/culturemonster/2011/04/classical-music-still-works-at-dispersing-loitering-teens-.html\">classical music\u003c/a>) to discourage loitering, Lovvorn strongly pushed back against concerns that the project is similarly motivated. “We hope it attracts people and encourages them to linger around the plaza,” she said. “It’ll actually be interesting to see if a culture arises around the speakers.”\u003c/p>\n\u003cp>At the plaza last week, Lovvorn and Brown were waiting for a BugID technician to arrive and dial in the decibel level of \u003cem>Flow in Place\u003c/em>. The piece is not “narrative,” Brown said, meaning it’s not meant for start-to-finish listening. He explained that he wants it to complement, not overpower, the area ambiance. “It should sound integrated into the environment, as if it’s being generated in real-time,” he said. Still, Brown also wanted to hear it cranked, at least once. So did Lovvorn. “It’s a construction site, we can be loud,” she said. “If anyone complains—it’s a sound check.”\u003c/p>\n\u003cfigure id=\"attachment_13843009\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg\" alt=\"Brown hopes to see some commuter skipping.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brown hopes to see some commuters skipping. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown recounted how, in the early 1990s, he mail-ordered a set of binaural microphones, which record sound the way it strikes a pair of human ears, and flew to Cuba to learn conga drumming on a grant from Mills College. (This year, Brown and Payne agreed to \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\">retire early\u003c/a> from co-directing the school’s Center for Contemporary Music in order to offset budget cuts to the department.) He clipped the mics to his sunglasses. “The recordings here at the beginning, we’d just stepped off the plane and were having lunch on a plaza,” he said. “I felt like I was wearing an audio camera.”\u003c/p>\n\u003cp>As Brown paced across the plaza, still enclosed by chain-link fence, \u003cem>Flow in Place\u003c/em> stirred one memory after another. “Now we’re in Bali,” he said, as the sound of pattering drums and voice mingled with engine noise from a bus passing on Shattuck Avenue. “This was recorded in the Marin Headlands, a performance in one of the old batteries.” He walked in circles, looking upwards. “There’s also some stuff from the tennis courts at UC Berkeley.”\u003c/p>\n\u003cp>Brown marveled at the speaker system, saying it’s comparable to something found at a college with an electronic music program. (Later that afternoon, Brown and the BugID technician blasted Neil Young for kicks.) For \u003cem>Flow in Place\u003c/em>, he created an algorithm to randomize the order of the segments, and the length of each sample determines how it spatializes, or moves from one end of the plaza to the other; a worker passing by at the same time every day will encounter something different. “I thought about what kind of sounds or textures won’t dominate the public space, but will interact with it,” Brown said. “You can’t expect an audience’s full attention.”\u003c/p>\n\u003cp>“The horse clopping, that was a trip,” Lovvorn said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Horse clopping?” Brown smiled, looking confused. “I don’t think that’s in there.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing East Bay educator and composer Chris Brown noticed about the new plaza atop downtown Berkeley’s BART station wasn’t the incandescent globe sculpture or LED stage lights but the speakers: eight of them in weatherproof casing, each mounted on the top of a 21-foot pole. “They aren’t arranged in a circle or a square,” he said. “They’re facing inwards—so people will walk through a sound hallway.”\u003c/p>\n\u003cp>Brown is the first participant in a unique series of public sound art installations at the renovated transit plaza. He created an audio collage called \u003cem>Flow in Place\u003c/em> from hours of field recordings—snippets of parties, performances, and unplaceable din—collected on three continents over the past 25 years. Each of the piece’s 140 fragments sweeps from one end of the eight-channel speaker array to the other; during a test last week, the ebb and flow felt enveloping, even pleasantly disorienting.\u003c/p>\n\u003cp>“I’ve thought about the installation as being analogous to an aquarium, where fish swim back and forth,” Brown said. “I also hope to see some commuters skipping.”\u003c/p>\n\u003cp>The plaza, which will also feature a Michael Christian sculpture and performances programmed by Taylor Street Production, debuts with a celebration this Thursday, Oct. 18. \u003cem>Flow in Place\u003c/em>, the first of ten sound art commissions, will run 7am to 10pm for two months, followed by works from artists including Maggi Payne, Danny Clay, Edmund Campion and Jim McKee. Jennifer Lovvorn, the city’s new chief cultural affairs officer, said the speakers and plaza are meant to be a platform for experimental music in the Bay Area, and to join the Berkeley Art Museum, UC Theater, and incoming \u003ca href=\"https://www.cityofberkeley.info/City_Manager/Civic_Arts/Public_Art_Galleries.aspx\">Cube Space\u003c/a> in cementing downtown Berkeley as an arts and culture destination.\u003c/p>\n\u003cp>Sound is a relatively undeveloped field of public art, but there are precedents: In New York, the amplified hum of a tunnel junction emanates from beneath an unmarked grate in Max Neuhaus’ \u003cem>Times Square\u003c/em>. In San Francisco, Bill Fontana’s field recordings play from the side of the North Beach library branch in \u003cem>Sonic Dreamscape\u003c/em>. Still, to Lovvorn’s knowledge, there isn’t a permanent, eight-or-more-channel speaker system for revolving sound installations sponsored by another city in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13843010\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg\" alt=\"BugID installed the sound system. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BugID installed the sound system. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plaza renovation began years ago, and Lovvorn said it occurred to Berkeley civic arts commissioners to retrofit the light poles with speakers accommodating sound art in perpetuity. “Rather than just doing a permanent sculpture at the site, the commissioners chose to create a platform to present a sound series,” she said. The cost of the Meyer Sound speakers, custom installation and ongoing technical support by BugID and $4,000 stipends for commissioned artists is nearly $350,000. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although some businesses use sound (particularly \u003ca href=\"http://latimesblogs.latimes.com/culturemonster/2011/04/classical-music-still-works-at-dispersing-loitering-teens-.html\">classical music\u003c/a>) to discourage loitering, Lovvorn strongly pushed back against concerns that the project is similarly motivated. “We hope it attracts people and encourages them to linger around the plaza,” she said. “It’ll actually be interesting to see if a culture arises around the speakers.”\u003c/p>\n\u003cp>At the plaza last week, Lovvorn and Brown were waiting for a BugID technician to arrive and dial in the decibel level of \u003cem>Flow in Place\u003c/em>. The piece is not “narrative,” Brown said, meaning it’s not meant for start-to-finish listening. He explained that he wants it to complement, not overpower, the area ambiance. “It should sound integrated into the environment, as if it’s being generated in real-time,” he said. Still, Brown also wanted to hear it cranked, at least once. So did Lovvorn. “It’s a construction site, we can be loud,” she said. “If anyone complains—it’s a sound check.”\u003c/p>\n\u003cfigure id=\"attachment_13843009\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg\" alt=\"Brown hopes to see some commuter skipping.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brown hopes to see some commuters skipping. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown recounted how, in the early 1990s, he mail-ordered a set of binaural microphones, which record sound the way it strikes a pair of human ears, and flew to Cuba to learn conga drumming on a grant from Mills College. (This year, Brown and Payne agreed to \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\">retire early\u003c/a> from co-directing the school’s Center for Contemporary Music in order to offset budget cuts to the department.) He clipped the mics to his sunglasses. “The recordings here at the beginning, we’d just stepped off the plane and were having lunch on a plaza,” he said. “I felt like I was wearing an audio camera.”\u003c/p>\n\u003cp>As Brown paced across the plaza, still enclosed by chain-link fence, \u003cem>Flow in Place\u003c/em> stirred one memory after another. “Now we’re in Bali,” he said, as the sound of pattering drums and voice mingled with engine noise from a bus passing on Shattuck Avenue. “This was recorded in the Marin Headlands, a performance in one of the old batteries.” He walked in circles, looking upwards. “There’s also some stuff from the tennis courts at UC Berkeley.”\u003c/p>\n\u003cp>Brown marveled at the speaker system, saying it’s comparable to something found at a college with an electronic music program. (Later that afternoon, Brown and the BugID technician blasted Neil Young for kicks.) For \u003cem>Flow in Place\u003c/em>, he created an algorithm to randomize the order of the segments, and the length of each sample determines how it spatializes, or moves from one end of the plaza to the other; a worker passing by at the same time every day will encounter something different. “I thought about what kind of sounds or textures won’t dominate the public space, but will interact with it,” Brown said. “You can’t expect an audience’s full attention.”\u003c/p>\n\u003cp>“The horse clopping, that was a trip,” Lovvorn said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Horse clopping?” Brown smiled, looking confused. “I don’t think that’s in there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Puppeteer Who Played Big Bird on 'Sesame Street' Retiring",
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"content": "\u003cp>The puppeteer who has played Big Bird on \u003cem>Sesame Street\u003c/em> is retiring after nearly 50 years on the show.\u003c/p>\n\u003cp>Caroll Spinney \u003ca href=\"https://www.nytimes.com/2018/10/17/arts/television/sesame-street-big-bird.html\" rel=\"noopener\" target=\"_blank\">tells the \u003cem>New York Times\u003c/em>\u003c/a> that Thursday will be his last day on the program, which he joined from the start in 1969. In addition to Big Bird, the 84-year-old was also Oscar the Grouch.\u003c/p>\n\u003cp>“I always thought,” Spinney says, “how fortunate for me that I got to play the two best Muppets?” \u003c/p>\n\u003cp>Spinney says the physical requirements of performing the characters had become difficult and he developed problems with his balance. He stopped doing the puppeteering for Big Bird in 2015 and now only provides the voices for him and Oscar.\u003c/p>\n\u003cp>Spinney was the subject of an acclaimed documentary, \u003cem>I Am Big Bird: The Carol Spinney Story\u003c/em>, in 2014.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>His apprentice Matt Vogel, who also plays Kermit the Frog, will succeed him in the Big Bird role. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The puppeteer who has played Big Bird on \u003cem>Sesame Street\u003c/em> is retiring after nearly 50 years on the show.\u003c/p>\n\u003cp>Caroll Spinney \u003ca href=\"https://www.nytimes.com/2018/10/17/arts/television/sesame-street-big-bird.html\" rel=\"noopener\" target=\"_blank\">tells the \u003cem>New York Times\u003c/em>\u003c/a> that Thursday will be his last day on the program, which he joined from the start in 1969. In addition to Big Bird, the 84-year-old was also Oscar the Grouch.\u003c/p>\n\u003cp>“I always thought,” Spinney says, “how fortunate for me that I got to play the two best Muppets?” \u003c/p>\n\u003cp>Spinney says the physical requirements of performing the characters had become difficult and he developed problems with his balance. He stopped doing the puppeteering for Big Bird in 2015 and now only provides the voices for him and Oscar.\u003c/p>\n\u003cp>Spinney was the subject of an acclaimed documentary, \u003cem>I Am Big Bird: The Carol Spinney Story\u003c/em>, in 2014.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mozzy On 'Gangland Landlord,' Kendrick and How a Persistent Grind Pays Off",
"headTitle": "Mozzy On ‘Gangland Landlord,’ Kendrick and How a Persistent Grind Pays Off | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>ix years ago, Mozzy thought his rap career was almost over.\u003c/p>\n\u003cp>The artist was 25 and had already served several stints behind bars on drug and weapons charges. His first child was on the way, and his mixtapes and music videos depicting Sacramento’s hardscrabble gang lifestyle hadn’t attracted much of an audience outside of his Oak Park neighborhood.\u003c/p>\n\u003cp>Flash forward to February 2018, when Kendrick Lamar accepted his Grammy for Best Rap Album. The first words out of his mouth to 19.8 million viewers at home and an auditorium of celebrities? “This is special, man. Like my guy Mozzy say, ‘God up top all the time,’ real talk.”\u003c/p>\n\u003cp>Upon hearing the unexpected Grammys shout out, West Coast rap fans exploded with excitement on \u003ca href=\"https://twitter.com/search?q=kendrick%20mozzy%20grammy%27s&src=typd\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a> and national publications \u003ca href=\"http://www.vulture.com/2018/02/a-guide-to-mozzy-the-sacramento-rapper-kendrick-lamar-loves.html\" target=\"_blank\" rel=\"noopener\">clued readers in\u003c/a> to the identity of the little-known artist who just received Lamar’s ultimate cosign.\u003c/p>\n\u003cp>Things only sped up from there. Less than a week after the Grammys, Ryan Coogler’s record-shattering \u003cem>Black Panther\u003c/em> came out in theaters. During the last scene, when T’Challa and Shuri visit the Oakland park that once contained a milk-crate basketball hoop, millions of viewers in sold-out theaters across the country heard Mozzy’s song “Sleep Walkin'” from his 2017 album \u003cem>1 Up Top Ahk\u003c/em>. Mozzy’s was the voice that symbolized that moment of returning to one’s roots to take care of those who are still struggling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/cAgRk2rBhlg\u003c/p>\n\u003cp>“I felt like, ‘Mama, we made it.’ After all the work we put in underground, they started to pay attention and recognize us on a national level,” says the 31-year-old Mozzy in a recent phone interview. “This is what we were shootin’ for. If I was to stop right now, I lived a dream.”\u003c/p>\n\u003cp>Mozzy’s autobiographical new album, \u003ca href=\"https://itunes.apple.com/us/album/gangland-landlord/1438263477?app=itunes&ign-mpt=uo%3D4\" target=\"_blank\" rel=\"noopener\">\u003cem>Gangland Landlord\u003c/em>\u003c/a>, released Oct. 5 on San Francisco distribution label Empire, is his first offering with the national spotlight on him. And although he recorded it knowing the industry was watching, the project comes across as an un-self-conscious, genuine self-portrait.\u003c/p>\n\u003cp>\u003cem>Gangland Landlord\u003c/em> weighs heavy with traumatic memories, with tense violins, pensive piano and ominous church bells underscoring narratives of Mozzy clawing himself out of poverty. It’s Mozzy’s most cleanly executed release since \u003cem>Bladadah\u003c/em>, the 2015 album that expanded his reach beyond Sacramento and made him a star of Northern California’s underground scene.\u003c/p>\n\u003cp>“The big dog, I’m the fella-fella,” says Mozzy, explaining that the album’s title is a reflection of his new stature. “I’m the one the people come to. I’m the people’s champ.”\u003c/p>\n\u003cfigure id=\"attachment_13842714\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13842714 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Mozzy’s ‘Gangland Landlord.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s easy to call oneself a people’s champ; acting on it is the hard part. Amid a whirlwind press tour, Mozzy recently made time to go back to Sacramento (he currently lives in Los Angeles). He threw a charity event at a local park where he gave away backpacks, school supplies, haircut vouchers and $7,000 in cash to his old neighbors and friends.\u003c/p>\n\u003cp>“Provide for your people—I’m just looking out for mine,” says Mozzy, whose real name is Tim Patterson. “I’m the ‘landlord’ of this region, so I’m responsible. I don’t want no cookie, I don’t want no applause from nobody. No matter what I’m doing in life, if I have the means to look out for ’em, that’s what I’ma do, because these are the same people who was rooting for me when it was ugly, when it was spunky, when I only had seven listeners and 10 views on YouTube.”\u003c/p>\n\u003cp>Mozzy’s rise to the national stage is particularly remarkable because his subject matter, even on an album he knew would reach beyond his regional audience, is decidedly niche. He raps devotedly—militantly—about a gang lifestyle that’s far removed from anything Middle America could relate to, in a notorious neighborhood in a city whose culture is little-known to outsiders.\u003c/p>\n\u003cp>There’s no sugarcoating or sanitizing on \u003cem>Gangland Landlord\u003c/em>, either. Unlike Migos or Future, who depict shoot-outs in trap houses as minor detours on the way to innumerable rap-money riches, Mozzy is deeply reflective about his street activities and time behind bars, and how both of those things have affected his mental health and development as a man.\u003c/p>\n\u003cp>“Smile now, cry later when I’m by myself / More chains for the gang than I buy myself / Misled by the blind, tryna find myself,” he raps in a gravelly voice over low piano notes and a bass-heavy knock on “Not Impressive.” Later in the verse, he breaks from his growly cadence, trailing off into a whisper with the last word of every bar, betraying the pain behind his tough exterior.\u003c/p>\n\u003cp>https://youtu.be/KOVLJdPRlZE\u003c/p>\n\u003cp>Mozzy is a keen storyteller whose snapshots of life in inner-city America are as brutally realistic as they are vulnerable. “Perhaps his core talent is to convey violence in a way that feels honest, which makes his competition seem mediated, dishonest, even exploitative,” wrote \u003ca href=\"https://www.rollingstone.com/music/music-lists/40-best-rap-albums-of-2015-40015/mozzy-bladadah-26234/\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone\u003c/em>\u003c/a>‘s David Drake when the magazine named Mozzy’s \u003cem>Bladadah\u003c/em> the 22nd best rap album of 2015.\u003c/p>\n\u003cp>“Mozzy’s music slaps, but the gruff lyricist is a bard,” asserted \u003cem>The Atlantic\u003c/em>‘s Hannah Giorgis in her \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/10/mozzy-sacramento-gangland-landlord-rap-album/572281/\" target=\"_blank\" rel=\"noopener\">recent profile\u003c/a> of the rapper.\u003c/p>\n\u003cp>“I ain’t afraid to cry in my music,” Mozzy tells me. “I ain’t afraid to cry out for help. I ain’t afraid to let you know I don’t know, I don’t got all the answers. I ain’t afraid to let you know my faults, to let you know I was hurt, I was broke, I was starving.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile Bay Area rappers often complain that national labels and publications pass over them in favor of championing artists from Los Angeles, getting national recognition is even more of an uphill battle for a rapper from Sacramento, a city whose culture rarely makes a blip on the national radar beyond movies like \u003cem>Lady Bird\u003c/em>, which depicts a much whiter, safer version of the city Mozzy raps about.\u003c/p>\n\u003cp>When I ask how it feels to represent Sacramento and Oak Park on the national stage, Mozzy replies with a long, resounding, “HAAAAAAAAANH!”\u003c/p>\n\u003cp>“For sure we the underdogs, but I ain’t gon’ lie, we movin’ mountains right now,” he says.\u003c/p>\n\u003cp>Mozzy was raised in Oak Park by his grandmother, a former Black Panther, practicing Muslim and strict disciplinarian. His father was often in and out of jail, his mother struggled with addiction and many of his aunts and uncles were affiliated with the Bloods. Outside of the confines of his grandmother’s orderly home, Mozzy began getting in trouble at an early age and was selling drugs and breaking into houses by the time he was in middle school.\u003c/p>\n\u003cp>“I was raised in a respectful manner. There were other households that were less fortunate,” he reflects. “But the streets shaped me a lot. I was stuck in the streets for a long time. It got a lot to do with my character: I’d say the aggressive push, the way I bite down with my music.”\u003c/p>\n\u003cfigure id=\"attachment_13842297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_0741-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around the same time, Mozzy realized he wanted to be a rapper like his uncle, GP the Beast, who recorded Mozzy for the first time when he was just 11 and going by Lil Tim. In the years that followed, rapping and making quick money in the streets began to consume Mozzy. He ended up dropping out of high school to pursue music, but music only overtook his street activities much later, when his star began to rise after \u003cem>Bladadah\u003c/em>.\u003c/p>\n\u003cp>“In 2015, fresh out of jail, that’s when people started offering me thousands for projects. That’s when I knew—ain’t never made this type of money,” he says, still in disbelief. “First time I touched $50,000, legitimately—I could ride around with this 50 and the police can’t take it from me because I have proof of where I got it from—that’s when I was like, it’s real. When I gave my grandmother $100,000, that’s when I was like, ‘Yeah, this is what we doin’, f-ck all that other sh-t.'”\u003c/p>\n\u003cp>Between 2005 and 2008, Mozzy went to Sacramento County Jail on a variety of charges, including evading police and possessing marijuana with intent to sell. The repercussions of those convictions from his late teens and early ’20s follow him to this day. He was barred from owning a gun as a convicted felon, but, as he explains it, life in Oak Park required the protection of a weapon. In 2014, he served a year in San Quentin State Prison on firearms charges. (Mozzy says that, nowadays, his prior convictions still sometimes affect his ability to perform abroad.)\u003c/p>\n\u003cp>Mozzy’s stint at San Quentin was a wake-up call. “My dad was in jail when I was my daughter’s age,” he says, referring to his eldest, Ariana-Dooterz, who is now five. “We was in the same prison, though. So you know, I’m walking the same yard he was walking, history repeating itself. I couldn’t wait to get out so I could bite down, so I could get it together, so I could be a man. I had responsibilities and I didn’t want to put that burden on my family.”\u003c/p>\n\u003cp>Around the same time, Mozzy’s music started gaining traction outside of Sacramento. In 2013, he recorded a \u003cem>Tonite Show\u003c/em> album with Oakland’s DJ Fresh, the producer responsible for hyphy-era regional hits like D-Lo’s “No Hoe” and Mistah F.A.B.’s “We Go Stupid in the Bay.” Oakland’s Philthy Rich tapped Mozzy for the downcast, piano-heavy “\u003ca href=\"https://www.youtube.com/watch?v=7kBMDZGnhQs\" target=\"_blank\" rel=\"noopener\">I’m Just Being Honest\u003c/a>“; Joe Blow, another Oakland rapper with local clout, invited him to feature on the nostalgically soulful “\u003ca href=\"https://www.youtube.com/watch?v=7iC65U0DK9Q\" target=\"_blank\" rel=\"noopener\">Locked In\u003c/a>.” Mozzy’s name began to circulate in Bay Area rap circles, and in 2015, he cemented himself into the local scene with \u003cem>Down to the Wire: 4th Ave Edition \u003c/em>on J. Stalin’s Livewire Records, a household name for anyone who followed the Oakland street rap scene of the 2000s.\u003c/p>\n\u003cp>“It just took off from me from right there. The whole Bay started f-ckin’ with me,” he says. “They embraced me.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s Mozzy’s reputation as a searingly honest wordsmith grew, he remained on probation through 2017 and was barred from leaving the state of California without permission from his officer. This posed an inconvenience to his career: his 2016 and 2017 albums \u003cem>Mandatory Check\u003c/em> and \u003cem>1 Up Top Ahk\u003c/em> reached No. 11 and No. 36 on Billboard’s top R&B/hip-hop albums chart, and he began getting requests to perform out of state. Fortunately, his probation officer usually obliged.\u003c/p>\n\u003cfigure id=\"attachment_13842718\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-800x800.jpg\" alt=\"Cover art for Mozzy's '1 Up Top Ahk.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Mozzy’s ‘1 Up Top Ahk.’\u003c/figcaption>\u003c/figure>\n\u003cp>Without these hindrances, Mozzy might be farther along in his career. But he still doesn’t regret his past. “It do put a damper on some things, it threw a lot of things off,” he says. “But I don’t regret nothing. If I hadn’t went through the beautiful struggles I went through, I think it would have minimized my hunger.”\u003c/p>\n\u003cp>Though his criminal past is key to understanding him as a person and artist, \u003ca href=\"https://www.newsreview.com/sacramento/sacramento-gangster-rapper-mozzy-is/content?oid=20363358\" target=\"_blank\" rel=\"noopener\">early stories\u003c/a> about Mozzy sometimes read more like crime reports than profiles of an exciting new artist. And indeed, if Mozzy’s career continues to progress the way it has the past three years, he’s about to be scrutinized by a lot more label heads, journalists, streaming service execs and listeners who may harbor stereotypes and misconceptions about his background or previous way of life.\u003c/p>\n\u003cfigure id=\"attachment_13842296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_0740-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Mozzy says he’d sooner fall off than censor himself. “I ain’t in it for the money,” he says, defiant. “If I decline financially, it wouldn’t hurt me as much as changing and tweaking my music for someone else. That would do more damage to my inner self than financial problems.”\u003c/p>\n\u003cp>Mozzy is living a new lifestyle now, far away from the trenches he raps about. He’s a family man with a girlfriend and two daughters (seven-month-old Zayda was born earlier this year). They’re living in L.A. in a safe neighborhood, in a building with an elevator, far away from the dangers of Oak Park. “I gotta make sure they don’t go through the same beautiful struggles I went through,” Mozzy says, adding that his daughters are his biggest motivation. “I want them to be 10 times doper than me. No matter what career choice, no matter what they’re doing in life, I want to provide them with that head start and that healthy household with a mother and father present, unlike the majority of our community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s no room for f-ckin’ up.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>ix years ago, Mozzy thought his rap career was almost over.\u003c/p>\n\u003cp>The artist was 25 and had already served several stints behind bars on drug and weapons charges. His first child was on the way, and his mixtapes and music videos depicting Sacramento’s hardscrabble gang lifestyle hadn’t attracted much of an audience outside of his Oak Park neighborhood.\u003c/p>\n\u003cp>Flash forward to February 2018, when Kendrick Lamar accepted his Grammy for Best Rap Album. The first words out of his mouth to 19.8 million viewers at home and an auditorium of celebrities? “This is special, man. Like my guy Mozzy say, ‘God up top all the time,’ real talk.”\u003c/p>\n\u003cp>Upon hearing the unexpected Grammys shout out, West Coast rap fans exploded with excitement on \u003ca href=\"https://twitter.com/search?q=kendrick%20mozzy%20grammy%27s&src=typd\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a> and national publications \u003ca href=\"http://www.vulture.com/2018/02/a-guide-to-mozzy-the-sacramento-rapper-kendrick-lamar-loves.html\" target=\"_blank\" rel=\"noopener\">clued readers in\u003c/a> to the identity of the little-known artist who just received Lamar’s ultimate cosign.\u003c/p>\n\u003cp>Things only sped up from there. Less than a week after the Grammys, Ryan Coogler’s record-shattering \u003cem>Black Panther\u003c/em> came out in theaters. During the last scene, when T’Challa and Shuri visit the Oakland park that once contained a milk-crate basketball hoop, millions of viewers in sold-out theaters across the country heard Mozzy’s song “Sleep Walkin'” from his 2017 album \u003cem>1 Up Top Ahk\u003c/em>. Mozzy’s was the voice that symbolized that moment of returning to one’s roots to take care of those who are still struggling.\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/cAgRk2rBhlg'\n title='//www.youtube.com/embed/cAgRk2rBhlg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I felt like, ‘Mama, we made it.’ After all the work we put in underground, they started to pay attention and recognize us on a national level,” says the 31-year-old Mozzy in a recent phone interview. “This is what we were shootin’ for. If I was to stop right now, I lived a dream.”\u003c/p>\n\u003cp>Mozzy’s autobiographical new album, \u003ca href=\"https://itunes.apple.com/us/album/gangland-landlord/1438263477?app=itunes&ign-mpt=uo%3D4\" target=\"_blank\" rel=\"noopener\">\u003cem>Gangland Landlord\u003c/em>\u003c/a>, released Oct. 5 on San Francisco distribution label Empire, is his first offering with the national spotlight on him. And although he recorded it knowing the industry was watching, the project comes across as an un-self-conscious, genuine self-portrait.\u003c/p>\n\u003cp>\u003cem>Gangland Landlord\u003c/em> weighs heavy with traumatic memories, with tense violins, pensive piano and ominous church bells underscoring narratives of Mozzy clawing himself out of poverty. It’s Mozzy’s most cleanly executed release since \u003cem>Bladadah\u003c/em>, the 2015 album that expanded his reach beyond Sacramento and made him a star of Northern California’s underground scene.\u003c/p>\n\u003cp>“The big dog, I’m the fella-fella,” says Mozzy, explaining that the album’s title is a reflection of his new stature. “I’m the one the people come to. I’m the people’s champ.”\u003c/p>\n\u003cfigure id=\"attachment_13842714\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13842714 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Mozzy’s ‘Gangland Landlord.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s easy to call oneself a people’s champ; acting on it is the hard part. Amid a whirlwind press tour, Mozzy recently made time to go back to Sacramento (he currently lives in Los Angeles). He threw a charity event at a local park where he gave away backpacks, school supplies, haircut vouchers and $7,000 in cash to his old neighbors and friends.\u003c/p>\n\u003cp>“Provide for your people—I’m just looking out for mine,” says Mozzy, whose real name is Tim Patterson. “I’m the ‘landlord’ of this region, so I’m responsible. I don’t want no cookie, I don’t want no applause from nobody. No matter what I’m doing in life, if I have the means to look out for ’em, that’s what I’ma do, because these are the same people who was rooting for me when it was ugly, when it was spunky, when I only had seven listeners and 10 views on YouTube.”\u003c/p>\n\u003cp>Mozzy’s rise to the national stage is particularly remarkable because his subject matter, even on an album he knew would reach beyond his regional audience, is decidedly niche. He raps devotedly—militantly—about a gang lifestyle that’s far removed from anything Middle America could relate to, in a notorious neighborhood in a city whose culture is little-known to outsiders.\u003c/p>\n\u003cp>There’s no sugarcoating or sanitizing on \u003cem>Gangland Landlord\u003c/em>, either. Unlike Migos or Future, who depict shoot-outs in trap houses as minor detours on the way to innumerable rap-money riches, Mozzy is deeply reflective about his street activities and time behind bars, and how both of those things have affected his mental health and development as a man.\u003c/p>\n\u003cp>“Smile now, cry later when I’m by myself / More chains for the gang than I buy myself / Misled by the blind, tryna find myself,” he raps in a gravelly voice over low piano notes and a bass-heavy knock on “Not Impressive.” Later in the verse, he breaks from his growly cadence, trailing off into a whisper with the last word of every bar, betraying the pain behind his tough exterior.\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/KOVLJdPRlZE'\n title='//www.youtube.com/embed/KOVLJdPRlZE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mozzy is a keen storyteller whose snapshots of life in inner-city America are as brutally realistic as they are vulnerable. “Perhaps his core talent is to convey violence in a way that feels honest, which makes his competition seem mediated, dishonest, even exploitative,” wrote \u003ca href=\"https://www.rollingstone.com/music/music-lists/40-best-rap-albums-of-2015-40015/mozzy-bladadah-26234/\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone\u003c/em>\u003c/a>‘s David Drake when the magazine named Mozzy’s \u003cem>Bladadah\u003c/em> the 22nd best rap album of 2015.\u003c/p>\n\u003cp>“Mozzy’s music slaps, but the gruff lyricist is a bard,” asserted \u003cem>The Atlantic\u003c/em>‘s Hannah Giorgis in her \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/10/mozzy-sacramento-gangland-landlord-rap-album/572281/\" target=\"_blank\" rel=\"noopener\">recent profile\u003c/a> of the rapper.\u003c/p>\n\u003cp>“I ain’t afraid to cry in my music,” Mozzy tells me. “I ain’t afraid to cry out for help. I ain’t afraid to let you know I don’t know, I don’t got all the answers. I ain’t afraid to let you know my faults, to let you know I was hurt, I was broke, I was starving.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile Bay Area rappers often complain that national labels and publications pass over them in favor of championing artists from Los Angeles, getting national recognition is even more of an uphill battle for a rapper from Sacramento, a city whose culture rarely makes a blip on the national radar beyond movies like \u003cem>Lady Bird\u003c/em>, which depicts a much whiter, safer version of the city Mozzy raps about.\u003c/p>\n\u003cp>When I ask how it feels to represent Sacramento and Oak Park on the national stage, Mozzy replies with a long, resounding, “HAAAAAAAAANH!”\u003c/p>\n\u003cp>“For sure we the underdogs, but I ain’t gon’ lie, we movin’ mountains right now,” he says.\u003c/p>\n\u003cp>Mozzy was raised in Oak Park by his grandmother, a former Black Panther, practicing Muslim and strict disciplinarian. His father was often in and out of jail, his mother struggled with addiction and many of his aunts and uncles were affiliated with the Bloods. Outside of the confines of his grandmother’s orderly home, Mozzy began getting in trouble at an early age and was selling drugs and breaking into houses by the time he was in middle school.\u003c/p>\n\u003cp>“I was raised in a respectful manner. There were other households that were less fortunate,” he reflects. “But the streets shaped me a lot. I was stuck in the streets for a long time. It got a lot to do with my character: I’d say the aggressive push, the way I bite down with my music.”\u003c/p>\n\u003cfigure id=\"attachment_13842297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_0741-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around the same time, Mozzy realized he wanted to be a rapper like his uncle, GP the Beast, who recorded Mozzy for the first time when he was just 11 and going by Lil Tim. In the years that followed, rapping and making quick money in the streets began to consume Mozzy. He ended up dropping out of high school to pursue music, but music only overtook his street activities much later, when his star began to rise after \u003cem>Bladadah\u003c/em>.\u003c/p>\n\u003cp>“In 2015, fresh out of jail, that’s when people started offering me thousands for projects. That’s when I knew—ain’t never made this type of money,” he says, still in disbelief. “First time I touched $50,000, legitimately—I could ride around with this 50 and the police can’t take it from me because I have proof of where I got it from—that’s when I was like, it’s real. When I gave my grandmother $100,000, that’s when I was like, ‘Yeah, this is what we doin’, f-ck all that other sh-t.'”\u003c/p>\n\u003cp>Between 2005 and 2008, Mozzy went to Sacramento County Jail on a variety of charges, including evading police and possessing marijuana with intent to sell. The repercussions of those convictions from his late teens and early ’20s follow him to this day. He was barred from owning a gun as a convicted felon, but, as he explains it, life in Oak Park required the protection of a weapon. In 2014, he served a year in San Quentin State Prison on firearms charges. (Mozzy says that, nowadays, his prior convictions still sometimes affect his ability to perform abroad.)\u003c/p>\n\u003cp>Mozzy’s stint at San Quentin was a wake-up call. “My dad was in jail when I was my daughter’s age,” he says, referring to his eldest, Ariana-Dooterz, who is now five. “We was in the same prison, though. So you know, I’m walking the same yard he was walking, history repeating itself. I couldn’t wait to get out so I could bite down, so I could get it together, so I could be a man. I had responsibilities and I didn’t want to put that burden on my family.”\u003c/p>\n\u003cp>Around the same time, Mozzy’s music started gaining traction outside of Sacramento. In 2013, he recorded a \u003cem>Tonite Show\u003c/em> album with Oakland’s DJ Fresh, the producer responsible for hyphy-era regional hits like D-Lo’s “No Hoe” and Mistah F.A.B.’s “We Go Stupid in the Bay.” Oakland’s Philthy Rich tapped Mozzy for the downcast, piano-heavy “\u003ca href=\"https://www.youtube.com/watch?v=7kBMDZGnhQs\" target=\"_blank\" rel=\"noopener\">I’m Just Being Honest\u003c/a>“; Joe Blow, another Oakland rapper with local clout, invited him to feature on the nostalgically soulful “\u003ca href=\"https://www.youtube.com/watch?v=7iC65U0DK9Q\" target=\"_blank\" rel=\"noopener\">Locked In\u003c/a>.” Mozzy’s name began to circulate in Bay Area rap circles, and in 2015, he cemented himself into the local scene with \u003cem>Down to the Wire: 4th Ave Edition \u003c/em>on J. Stalin’s Livewire Records, a household name for anyone who followed the Oakland street rap scene of the 2000s.\u003c/p>\n\u003cp>“It just took off from me from right there. The whole Bay started f-ckin’ with me,” he says. “They embraced me.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s Mozzy’s reputation as a searingly honest wordsmith grew, he remained on probation through 2017 and was barred from leaving the state of California without permission from his officer. This posed an inconvenience to his career: his 2016 and 2017 albums \u003cem>Mandatory Check\u003c/em> and \u003cem>1 Up Top Ahk\u003c/em> reached No. 11 and No. 36 on Billboard’s top R&B/hip-hop albums chart, and he began getting requests to perform out of state. Fortunately, his probation officer usually obliged.\u003c/p>\n\u003cfigure id=\"attachment_13842718\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-800x800.jpg\" alt=\"Cover art for Mozzy's '1 Up Top Ahk.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Mozzy’s ‘1 Up Top Ahk.’\u003c/figcaption>\u003c/figure>\n\u003cp>Without these hindrances, Mozzy might be farther along in his career. But he still doesn’t regret his past. “It do put a damper on some things, it threw a lot of things off,” he says. “But I don’t regret nothing. If I hadn’t went through the beautiful struggles I went through, I think it would have minimized my hunger.”\u003c/p>\n\u003cp>Though his criminal past is key to understanding him as a person and artist, \u003ca href=\"https://www.newsreview.com/sacramento/sacramento-gangster-rapper-mozzy-is/content?oid=20363358\" target=\"_blank\" rel=\"noopener\">early stories\u003c/a> about Mozzy sometimes read more like crime reports than profiles of an exciting new artist. And indeed, if Mozzy’s career continues to progress the way it has the past three years, he’s about to be scrutinized by a lot more label heads, journalists, streaming service execs and listeners who may harbor stereotypes and misconceptions about his background or previous way of life.\u003c/p>\n\u003cfigure id=\"attachment_13842296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_0740-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Mozzy says he’d sooner fall off than censor himself. “I ain’t in it for the money,” he says, defiant. “If I decline financially, it wouldn’t hurt me as much as changing and tweaking my music for someone else. That would do more damage to my inner self than financial problems.”\u003c/p>\n\u003cp>Mozzy is living a new lifestyle now, far away from the trenches he raps about. He’s a family man with a girlfriend and two daughters (seven-month-old Zayda was born earlier this year). They’re living in L.A. in a safe neighborhood, in a building with an elevator, far away from the dangers of Oak Park. “I gotta make sure they don’t go through the same beautiful struggles I went through,” Mozzy says, adding that his daughters are his biggest motivation. “I want them to be 10 times doper than me. No matter what career choice, no matter what they’re doing in life, I want to provide them with that head start and that healthy household with a mother and father present, unlike the majority of our community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s no room for f-ckin’ up.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "in-undocumented-heart-day-laborers-turn-their-migration-stories-into-art",
"title": "In 'Undocumented Heart,' Day Laborers Turn their Migration Stories into Art",
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"headTitle": "In ‘Undocumented Heart,’ Day Laborers Turn their Migration Stories into Art | KQED",
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"content": "\u003cp>On the same day demonstrators took over the steps of the Supreme Court in Washington, D.C. to protest the confirmation of controversial Supreme Court Justice Brett Kavanaugh, across the country in Oakland, a group of day laborers presented their own protest in the form of art.\u003c/p>\n\u003cp>A total of 13 day laborers are part of Peralta Hacienda Historical Park’s newest indoor and outdoor exhibition, \u003cem>\u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=118&pagecategory=7\" target=\"_blank\" rel=\"noopener noreferrer\">Undocumented Heart: Oakland Day Laborers Tell Their Stories\u003c/a>\u003c/em>. The artists are all members of the Oakland Workers Collective (a division of \u003ca href=\"http://streetlevelhealthproject.org/about-the-immigrant-rights-and-empowerment-program/\" target=\"_blank\" rel=\"noopener noreferrer\">Street Level Health Project\u003c/a>), a nonprofit organization that works directly with day laborers to ensure they are not exploited by employers, despite their lack of legal immigration documents.\u003c/p>\n\u003cp>Through the use of textiles, paintings and oral storytelling, the exhibition’s participants share heartfelt accounts of their own lives, detailing when they decided to migrate and what they went through to cross the border. While none of the members of the group consider themselves artists, hidden creativity results in a fascinating display of beauty. Artists Marion Coleman and Ramon Carrillo worked with the group for a year on depictions of personal struggles, resilience, the desire to survive, the consequences of separation, and the need to thrive despite the current anti-immigrant climate. What results is a display that starts a conversation: about the complexity of a broken immigration system and about the historical and political reasons behind individuals’ decisions to immigrate to the United States.\u003c/p>\n\u003cfigure id=\"attachment_13842886\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200.jpg\" alt=\"Santiago stands in front of the outdoor portion of the 'Undocumented Heart' exhibition.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">María Natividad Santiago stands in front of the outdoor portion of the ‘Undocumented Heart’ exhibition. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Undocumented Heart\u003c/i> is divided into two sections—the outdoor portion consists of enormous vinyl banners, the indoor portion houses the day laborers’ actual artwork. Outside, the banners hang in chronological order starting with the story of the first laborer who moved to the States. Running along the bottom of these narratives is a timeline detailing what was going on in the United States, Mexico and Central America when each laborer migrated.\u003c/p>\n\u003cp>One of the most poignant voices in the exhibition is that of Mario Pina, a Mexican father who immigrated to the United States in 2004 from the state of Guerrero. Pina worked as a gardener, a job that allowed him to send a significant amount of money home—but when the company he worked for enforced the verification of immigration paperwork, he had to quit. “It was last year when they started checking papers,” Pina says of the moment he knew his livelihood was in jeopardy. He found support in the Oakland Workers Collective. “The [collective] helped us find jobs, and make sure that people we work for pay for our labor.”\u003c/p>\n\u003cfigure id=\"attachment_13842883\" class=\"wp-caption aligncenter\" style=\"max-width: 1824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/PinaPainting_1200.jpg\" alt=\"A painting by Mario Pina.\" width=\"1824\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200.jpg 1824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-520x365.jpg 520w\" sizes=\"(max-width: 1824px) 100vw, 1824px\">\u003cfigcaption class=\"wp-caption-text\">A painting by Mario Pina. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I was approached about the project I told them that I’m not an artist, and I didn’t go to school,” Pina says. “But they told me, we want you to tell your story.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the end of their workdays, Pina and the other participants would head to Peralta Hacienda for watercolor and textile workshops organized by Coleman and Carrillo. “Now seeing the end result of my hard work, I’m very proud of telling my story,” Pina says. “I want to make sure that people know that we are not criminals. We are hardworking people who come here out of necessity.”\u003c/p>\n\u003cfigure id=\"attachment_13842882\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc.jpg\" alt=\"A textile by Mario Pina.\" width=\"1200\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-1180x871.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-960x709.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-520x384.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A textile by Mario Pina. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pina is proud to talk about how his arduous work as a gardener paid for his children’s college degrees, including one who lives with him in the U.S. “Oftentimes people [like me] with a lack of proper legal status feel like everything is impossible. But as human beings, we have the same rights, papers or not,” he says. He beams with pride talking about both the physical work he does and the people he’s now reached through his art.\u003c/p>\n\u003cp>Similarly captivating is the story of María Natividad Santiago, who emigrated from Guadalajara, Jalisco in 1984. In the United States, she worked in the fields and as a domestic worker. At the opening of \u003ci>Undocumented Heart\u003c/i>, during a moving spoken word and music performance, Santiago sang a song about birds freely roaming the skies, alluding to the fact that migration is a natural occurrence for all species, including humans.\u003c/p>\n\u003cfigure id=\"attachment_13842885\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MariaTextile_1200.jpg\" alt=\"A textile piece by María Natividad Santiago in 'Undocumented Heart.'\" width=\"1200\" height=\"919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-1180x904.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-960x735.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-375x287.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-520x398.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A textile piece by María Natividad Santiago in ‘Undocumented Heart.’ \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As people walk through the exhibition and read these migration stories, the setting of Peralta Hacienda, familiar and intimate, emerges as the perfect place to house the artwork the day laborers created in their year of workshops. Their paintings show homes and family members left behind, the textiles show expanses of desert—the settings of harrowing journeys. It’s easy to see their works and feel despair at the thought of the current administration’s attitudes and policies towards migrants. Yet while every colorful stroke of paint and every stitch represents agony and frustration, these marks also speak to an undeniable resilience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Undocumented Heart: Oakland Day Laborers Tell Their Stories’ is on view at Peralta Hacienda Historical House through Jan. 9, 2019. \u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=118&pagecategory=7\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Peralta Hacienda Historical Park exhibits the paintings, textiles and oral histories of Oakland day laborers, illustrating journeys of hope and resilience.",
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"title": "In 'Undocumented Heart,' Day Laborers Turn their Migration Stories into Art | KQED",
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"headline": "In 'Undocumented Heart,' Day Laborers Turn their Migration Stories into Art",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the same day demonstrators took over the steps of the Supreme Court in Washington, D.C. to protest the confirmation of controversial Supreme Court Justice Brett Kavanaugh, across the country in Oakland, a group of day laborers presented their own protest in the form of art.\u003c/p>\n\u003cp>A total of 13 day laborers are part of Peralta Hacienda Historical Park’s newest indoor and outdoor exhibition, \u003cem>\u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=118&pagecategory=7\" target=\"_blank\" rel=\"noopener noreferrer\">Undocumented Heart: Oakland Day Laborers Tell Their Stories\u003c/a>\u003c/em>. The artists are all members of the Oakland Workers Collective (a division of \u003ca href=\"http://streetlevelhealthproject.org/about-the-immigrant-rights-and-empowerment-program/\" target=\"_blank\" rel=\"noopener noreferrer\">Street Level Health Project\u003c/a>), a nonprofit organization that works directly with day laborers to ensure they are not exploited by employers, despite their lack of legal immigration documents.\u003c/p>\n\u003cp>Through the use of textiles, paintings and oral storytelling, the exhibition’s participants share heartfelt accounts of their own lives, detailing when they decided to migrate and what they went through to cross the border. While none of the members of the group consider themselves artists, hidden creativity results in a fascinating display of beauty. Artists Marion Coleman and Ramon Carrillo worked with the group for a year on depictions of personal struggles, resilience, the desire to survive, the consequences of separation, and the need to thrive despite the current anti-immigrant climate. What results is a display that starts a conversation: about the complexity of a broken immigration system and about the historical and political reasons behind individuals’ decisions to immigrate to the United States.\u003c/p>\n\u003cfigure id=\"attachment_13842886\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200.jpg\" alt=\"Santiago stands in front of the outdoor portion of the 'Undocumented Heart' exhibition.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaNatividadSantiago_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">María Natividad Santiago stands in front of the outdoor portion of the ‘Undocumented Heart’ exhibition. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Undocumented Heart\u003c/i> is divided into two sections—the outdoor portion consists of enormous vinyl banners, the indoor portion houses the day laborers’ actual artwork. Outside, the banners hang in chronological order starting with the story of the first laborer who moved to the States. Running along the bottom of these narratives is a timeline detailing what was going on in the United States, Mexico and Central America when each laborer migrated.\u003c/p>\n\u003cp>One of the most poignant voices in the exhibition is that of Mario Pina, a Mexican father who immigrated to the United States in 2004 from the state of Guerrero. Pina worked as a gardener, a job that allowed him to send a significant amount of money home—but when the company he worked for enforced the verification of immigration paperwork, he had to quit. “It was last year when they started checking papers,” Pina says of the moment he knew his livelihood was in jeopardy. He found support in the Oakland Workers Collective. “The [collective] helped us find jobs, and make sure that people we work for pay for our labor.”\u003c/p>\n\u003cfigure id=\"attachment_13842883\" class=\"wp-caption aligncenter\" style=\"max-width: 1824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/PinaPainting_1200.jpg\" alt=\"A painting by Mario Pina.\" width=\"1824\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200.jpg 1824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaPainting_1200-520x365.jpg 520w\" sizes=\"(max-width: 1824px) 100vw, 1824px\">\u003cfigcaption class=\"wp-caption-text\">A painting by Mario Pina. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I was approached about the project I told them that I’m not an artist, and I didn’t go to school,” Pina says. “But they told me, we want you to tell your story.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the end of their workdays, Pina and the other participants would head to Peralta Hacienda for watercolor and textile workshops organized by Coleman and Carrillo. “Now seeing the end result of my hard work, I’m very proud of telling my story,” Pina says. “I want to make sure that people know that we are not criminals. We are hardworking people who come here out of necessity.”\u003c/p>\n\u003cfigure id=\"attachment_13842882\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc.jpg\" alt=\"A textile by Mario Pina.\" width=\"1200\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-1180x871.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-960x709.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/PinaTextile_1200cc-520x384.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A textile by Mario Pina. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pina is proud to talk about how his arduous work as a gardener paid for his children’s college degrees, including one who lives with him in the U.S. “Oftentimes people [like me] with a lack of proper legal status feel like everything is impossible. But as human beings, we have the same rights, papers or not,” he says. He beams with pride talking about both the physical work he does and the people he’s now reached through his art.\u003c/p>\n\u003cp>Similarly captivating is the story of María Natividad Santiago, who emigrated from Guadalajara, Jalisco in 1984. In the United States, she worked in the fields and as a domestic worker. At the opening of \u003ci>Undocumented Heart\u003c/i>, during a moving spoken word and music performance, Santiago sang a song about birds freely roaming the skies, alluding to the fact that migration is a natural occurrence for all species, including humans.\u003c/p>\n\u003cfigure id=\"attachment_13842885\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MariaTextile_1200.jpg\" alt=\"A textile piece by María Natividad Santiago in 'Undocumented Heart.'\" width=\"1200\" height=\"919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-1180x904.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-960x735.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-375x287.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MariaTextile_1200-520x398.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A textile piece by María Natividad Santiago in ‘Undocumented Heart.’ \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As people walk through the exhibition and read these migration stories, the setting of Peralta Hacienda, familiar and intimate, emerges as the perfect place to house the artwork the day laborers created in their year of workshops. Their paintings show homes and family members left behind, the textiles show expanses of desert—the settings of harrowing journeys. It’s easy to see their works and feel despair at the thought of the current administration’s attitudes and policies towards migrants. Yet while every colorful stroke of paint and every stitch represents agony and frustration, these marks also speak to an undeniable resilience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Undocumented Heart: Oakland Day Laborers Tell Their Stories’ is on view at Peralta Hacienda Historical House through Jan. 9, 2019. \u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=118&pagecategory=7\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "West Bay Opera's 'La bohème' Moves Starving Artists from Paris to San Francisco",
"headTitle": "West Bay Opera’s ‘La bohème’ Moves Starving Artists from Paris to San Francisco | KQED",
"content": "\u003cp>This weekend and next, \u003ca href=\"https://www.wbopera.org\" target=\"_blank\" rel=\"noopener\">West Bay Opera\u003c/a> of Palo Alto delivers Giacomo Puccini’s classic, \u003cem>La bohème\u003c/em>, set in today’s San Francisco. Which is to say, against a backdrop of extreme economic disparities and epically widespread homelessness.\u003c/p>\n\u003cp>A story originally set in 1830s Paris, bustling with industry and also poverty, makes perfect sense transposed to the Bay Area, given how many people have already been, or are on the verge of, being priced out.\u003c/p>\n\u003cp>West Bay Opera certainly wouldn’t be the first to employ this staging strategy. The opera’s themes have proven resonant over more than a century in many different productions and adaptations. Think of Jonathan Larson’s rock musical \u003cem>RENT,\u003c/em> set in AIDS-riddled 1990’s New York. Or closer to home, \u003ca href=\"https://www.operaontap.org/san-francisco/\" target=\"_blank\" rel=\"noopener\">Opera on Tap\u003c/a>‘s \u003ca href=\"https://www.kqed.org/arts/11320161/struggling-sf-artists-imitate-life-in-la-boheme-and-yes-theres-a-bar\" target=\"_blank\" rel=\"noopener\">San Francisco take\u003c/a> performed at the Tenderloin’s EXIT Theatre in 2016.\u003c/p>\n\u003cp>West Bay Opera’s general director Jose Luis Moscovitch says, “We have parallels that we can certainly highlight to make people aware of the plight of artists; who, after all, are the creative class, the people that make San Francisco and the Bay Area such a unique place. We need to think about what to do to help them stay.”\u003c/p>\n\u003cfigure id=\"attachment_13842742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842742\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-800x533.jpg\" alt=\"In West Bay Opera's rendition of La bohème, the action takes place outside San Francisco's City Hall, before homeless people living in tents.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In West Bay Opera’s rendition of La bohème, the action takes place outside San Francisco’s City Hall, before homeless people living in tents. \u003ccite>(Photo: Courtesy of West Bay Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That train has largely left the station. In a sense, the most poignant tragedy of West Bay Opera’s staging is the ever-present sense of how hard it is for real artists off-stage to hang on in the Bay Area. We watch a small social circle of friends grasp vainly for happiness in a world indifferent to their slow, grinding starvation. That they laugh and sing Puccini’s soaring melodies along the way is reason enough to break out the Kleenex.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The opera’s ill-fated lovers are Mimi (soprano Julie Adams), a sickly yet radiant embroiderer, and Rodolfo (tenor Nathan Granner), a writer so prone to romantic gestures he offers to burn one of his own notebooks to keep him and his flatmates warm in winter. Their rundown Victorian in the Castro may have gorgeous views of Sutro Tower, but you can’t eat that view.\u003c/p>\n\u003cp>More drama ensues against a backdrop of homeless people surviving in tents on Civic Center Plaza. The audience need not stretch mentally to get the hint the artists live one step away from living in tents themselves. Over the course of the opera, different characters obliquely reference their luck winning favors from wealthy lovers or employers, which only emphasizes how close they all live to economic ruin.\u003c/p>\n\u003cp>When the English super-titles display inevitable evidence of dated bits, like joking references to predatory sexual behavior that would get the males fired in a 2018 San Francisco workplace, the singers undercut the bite visually. That and the racially diverse casting signal something along the lines of, “We know. We know. Just focus on the glorious music!”\u003c/p>\n\u003cfigure id=\"attachment_13842712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-800x533.jpg\" alt=\"In this rendition of La bohème, put on by West Bay Opera, the cast congregates in North Beach, instead of the Left Bank in Paris.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this rendition of La bohème, put on by West Bay Opera, the cast congregates in North Beach, instead of the Left Bank in Paris. \u003ccite>(Photo: Courtesy of West Bay Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lovely touches include Colline (bass baritone Brandon Bell) and Schaunard (baritone Kiril Havezov) playing a gay couple, and Parpignol (tenor Carmello Tringali) stunning the crowd in a dress and heels. Soprano Maya Kherani threatens to steal the stage more than once with her playful rendition of Musetta, a woman torn between her love for a poor painter and the good life wealthier men offer in return for her company.\u003c/p>\n\u003cp>“\u003ci>Bohème\u003c/i> is one of the most popular operas of all times,” says Stage Director Igor Vieira. “Most people have seen it many, many times. So how do you make people want to come see it again? Sure, they come for the music, but they also come for the drama. You need to keep making that drama fresh, and appealing, and something that people can relate to.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>West Bay Opera performs \u003cstrong>La bohème\u003c/strong> at the Lucie Stern Theatre in Palo Alto Oct. 12-21, 2018. For more information, click \u003ca href=\"https://www.wbopera.org\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend and next, \u003ca href=\"https://www.wbopera.org\" target=\"_blank\" rel=\"noopener\">West Bay Opera\u003c/a> of Palo Alto delivers Giacomo Puccini’s classic, \u003cem>La bohème\u003c/em>, set in today’s San Francisco. Which is to say, against a backdrop of extreme economic disparities and epically widespread homelessness.\u003c/p>\n\u003cp>A story originally set in 1830s Paris, bustling with industry and also poverty, makes perfect sense transposed to the Bay Area, given how many people have already been, or are on the verge of, being priced out.\u003c/p>\n\u003cp>West Bay Opera certainly wouldn’t be the first to employ this staging strategy. The opera’s themes have proven resonant over more than a century in many different productions and adaptations. Think of Jonathan Larson’s rock musical \u003cem>RENT,\u003c/em> set in AIDS-riddled 1990’s New York. Or closer to home, \u003ca href=\"https://www.operaontap.org/san-francisco/\" target=\"_blank\" rel=\"noopener\">Opera on Tap\u003c/a>‘s \u003ca href=\"https://www.kqed.org/arts/11320161/struggling-sf-artists-imitate-life-in-la-boheme-and-yes-theres-a-bar\" target=\"_blank\" rel=\"noopener\">San Francisco take\u003c/a> performed at the Tenderloin’s EXIT Theatre in 2016.\u003c/p>\n\u003cp>West Bay Opera’s general director Jose Luis Moscovitch says, “We have parallels that we can certainly highlight to make people aware of the plight of artists; who, after all, are the creative class, the people that make San Francisco and the Bay Area such a unique place. We need to think about what to do to help them stay.”\u003c/p>\n\u003cfigure id=\"attachment_13842742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842742\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-800x533.jpg\" alt=\"In West Bay Opera's rendition of La bohème, the action takes place outside San Francisco's City Hall, before homeless people living in tents.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33230_bohecc81me-0389p-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In West Bay Opera’s rendition of La bohème, the action takes place outside San Francisco’s City Hall, before homeless people living in tents. \u003ccite>(Photo: Courtesy of West Bay Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That train has largely left the station. In a sense, the most poignant tragedy of West Bay Opera’s staging is the ever-present sense of how hard it is for real artists off-stage to hang on in the Bay Area. We watch a small social circle of friends grasp vainly for happiness in a world indifferent to their slow, grinding starvation. That they laugh and sing Puccini’s soaring melodies along the way is reason enough to break out the Kleenex.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The opera’s ill-fated lovers are Mimi (soprano Julie Adams), a sickly yet radiant embroiderer, and Rodolfo (tenor Nathan Granner), a writer so prone to romantic gestures he offers to burn one of his own notebooks to keep him and his flatmates warm in winter. Their rundown Victorian in the Castro may have gorgeous views of Sutro Tower, but you can’t eat that view.\u003c/p>\n\u003cp>More drama ensues against a backdrop of homeless people surviving in tents on Civic Center Plaza. The audience need not stretch mentally to get the hint the artists live one step away from living in tents themselves. Over the course of the opera, different characters obliquely reference their luck winning favors from wealthy lovers or employers, which only emphasizes how close they all live to economic ruin.\u003c/p>\n\u003cp>When the English super-titles display inevitable evidence of dated bits, like joking references to predatory sexual behavior that would get the males fired in a 2018 San Francisco workplace, the singers undercut the bite visually. That and the racially diverse casting signal something along the lines of, “We know. We know. Just focus on the glorious music!”\u003c/p>\n\u003cfigure id=\"attachment_13842712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-800x533.jpg\" alt=\"In this rendition of La bohème, put on by West Bay Opera, the cast congregates in North Beach, instead of the Left Bank in Paris.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33216_boheme-0026p-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this rendition of La bohème, put on by West Bay Opera, the cast congregates in North Beach, instead of the Left Bank in Paris. \u003ccite>(Photo: Courtesy of West Bay Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lovely touches include Colline (bass baritone Brandon Bell) and Schaunard (baritone Kiril Havezov) playing a gay couple, and Parpignol (tenor Carmello Tringali) stunning the crowd in a dress and heels. Soprano Maya Kherani threatens to steal the stage more than once with her playful rendition of Musetta, a woman torn between her love for a poor painter and the good life wealthier men offer in return for her company.\u003c/p>\n\u003cp>“\u003ci>Bohème\u003c/i> is one of the most popular operas of all times,” says Stage Director Igor Vieira. “Most people have seen it many, many times. So how do you make people want to come see it again? Sure, they come for the music, but they also come for the drama. You need to keep making that drama fresh, and appealing, and something that people can relate to.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>West Bay Opera performs \u003cstrong>La bohème\u003c/strong> at the Lucie Stern Theatre in Palo Alto Oct. 12-21, 2018. For more information, click \u003ca href=\"https://www.wbopera.org\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Singled Out': Inside SFPD's Years-Long Effort to Kill a North Beach Nightclub",
"headTitle": "‘Singled Out’: Inside SFPD’s Years-Long Effort to Kill a North Beach Nightclub | KQED",
"content": "\u003cp>To hear San Francisco police tell it, Dec. 13, 2014 was a terrifying night inside North Beach nightclub Hue.\u003c/p>\n\u003cp>According to statements and letters from command staff at Central Station, it began when multiple fights roiled the largest dance club on a bustling block of Broadway. At the center of the action was a woman in white. And then things escalated: two combatants, both of them reported as black men, brandished concealed firearms. Hue erupted in shouts of “They got guns!” \u003c/p>\n\u003cp>But none of the club staff or security working that night could remember any of it. Hue owner Bennett Montoya didn’t find any evidence of the brawling and gun waving on security footage. An Entertainment Commission inspector from City Hall concluded that the incidents, which police said warranted stiff penalties, didn’t happen. And then the police witness’ recollection fell apart under oath, with a judge striking his testimony from the record.\u003c/p>\n\u003cp>The Dec. 13 story is just one of what Montoya and the now-former inspector, Jordan Pauley, call dozens of false or misleading police reports created in a years-long campaign to close or bankrupt the club. Now, Montoya’s pending \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Civil-rights-lawsuit.pdf\">federal civil-rights lawsuit [PDF]\u003c/a> naming the city and two officers, alleges the campaign is discriminatory, with SFPD targeting the club because of its hip-hop programming and black clientele. \u003c/p>\n\u003cfigure id=\"attachment_13842516\" 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/Hue.interior-800x533.jpg\" alt=\"The interior of Hue nightclub in North Beach.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13842516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of Hue nightclub in North Beach. \u003ccite>(via Hue / Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Singled Out\u003c/h2>\n\u003cp>Since 2014, SFPD has urged city nightlife regulators at the Entertainment Commission to revoke Hue’s entertainment permit, and separately challenged its liquor license through the state department of Alcoholic Beverage Control. The police, plus influential politicos and neighborhood groups, characterize Hue as a mismanaged, violence-prone blight upon Broadway’s reforming nightlife scene, plying patrons with booze until they stumble outside, throwing punches and worse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Andrew Diamond, a real-estate investor who’s lived next door since 2007, has been outspoken about what he considers chronic over-serving at the club and thumping bass emanating into his home. In an interview, he said Montoya’s selective-enforcement argument lacks merit, but added that, in the past year, club management has grown more responsive to his complaints. “I think the great efforts of the police and the Entertainment Commission have made Hue perform better as neighbors,” he said.\u003c/p>\n\u003cp>In a statement to KQED, city attorney spokesperson John Coté called the racial discrimination suit baseless. “For many years, community members have voiced concerns about overly intoxicated patrons from this establishment creating problems in the neighborhood, including violent fights,” he said, adding that the club “doesn’t have the right to create an unsafe environment.”\u003c/p>\n\u003cfigure id=\"attachment_13842311\" 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/Hue.SteveMatthias-800x439.jpg\" alt=\"SFPD officer Steve Matthias, named in a racial discrimination lawsuit, appears before the Entertainment Commission in 2018.\" width=\"800\" height=\"439\" class=\"size-medium wp-image-13842311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-800x439.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-1020x560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-960x527.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SFPD officer Steve Matthias, named in a racial discrimination lawsuit, appears before the Entertainment Commission in 2018. \u003ccite>(via San Francisco Entertainment Commission / Granicus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet a July 2018 \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/July-18-ABC-Appeals-Board-Decision.pdf\">ABC Appeals Board decision [PDF]\u003c/a> supports Montoya’s view that police have unfairly targeted Hue, laying all of the problems of a bacchanalian block on the doorstep of one of the city’s few remaining hip-hop clubs. Evidence presented at the hearing, the board wrote, established that Hue was “singled out for unique surveillance and enforcement” and blamed for “more than its fair share” of incidents on the block, and that the treatment resulted from “the desire of [former Central Station Captain David Lazar] and the SFPD to reduce African-American patronage of [Hue] by eliminating hip-hop music.”\u003c/p>\n\u003cp>That decision, which is being appealed, comes after the appeals board dismissed more than 90 percent of 52 total police reports of violence and crime at Hue, deeming them insubstantial as evidence. But it’s of little relief to Montoya, whose entertainment hours were limited last June to midnight, instead of 2am, by the Entertainment Commission. Montoya objects to the commission continuing to act on police reports judged unreliable and of “discriminatory design” in the ABC case, and his suit seeks to recover the hundreds of thousands he’s spent defending his business.\u003c/p>\n\u003cp>“At this point I’m all in,” Montoya said, likening the showdown to poker. “I can’t fold.”\u003c/p>\n\u003ch2>On the 400 Block\u003c/h2>\n\u003cp>On a recent Friday night, Montoya was anticipating a crowd of 150 for Rumba Latina, a Latin music night. Seven security guards were working, ready to use ID scanners and metal-detecting wands. Attendees at Hue are subject to pat-downs and searches; ins-and-outs aren’t allowed. Throughout events, Montoya cleans and takes pictures of the next-door alley, lest trash be blamed on Hue patrons, and he meters sound every hour, even though the speakers are limited to commission-approved levels.\u003c/p>\n\u003cfigure id=\"attachment_13842489\" 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/Hue.Bennett.Couch_-800x450.jpg\" alt=\"Bennett Montoya at Hue nightclub in North Beach.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13842489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bennett Montoya at Hue nightclub in North Beach. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003cbr>\nThe 36-year-old Redwood City native sat on a white leather couch in the back of the 400-capacity, two-room club just before doors opened. Montoya worked in finance before launching Hue in 2008 under the name Atmosphere, and cultivated a fleet of resident DJs while also hosting after-parties for high-profile hip-hop and R&B artists such as G-Eazy and Miguel. (The club rebranded as Hue in 2015.) \u003c/p>\n\u003cp>“When I’m here now, I’m mostly just making sure we’re complying with all of the conditions,” Montoya said. “And feeling anxious about the cops coming again.”\u003c/p>\n\u003cp>Montoya operated without enforcement actions for six years. But once David Lazar took command at Central Station in 2014, the suit alleges, he directed officers to park outside the club and blame it for any incident nearby. That would explain why some noise complaints use Hue’s address, but show the names of other clubs or call the source “unknown.” The ABC appeals board concluded that the club’s address, 447 Broadway, was used for “incidents that occurred anywhere on the street.”\u003c/p>\n\u003cp>[contextly_sidebar id=”8CADote565Kc8Iua5VHTsh5o8WEp3AT2”]\u003c/p>\n\u003cp>Outside Hue on the night of Rumba Latina, street behavior matched North Beach’s reputation as one of the last outposts of the Barbary Coast. Patrons in the smoking patio of a club next door passed drinks to their friends in line. A bar across the street advertised an event called “Beer Olympics.” Tourists leaving a hostel wondered aloud in thick accents about scoring drugs while strip-club bouncers pitched lap dances to passersby. It was just shy of 10pm.\u003c/p>\n\u003cp>But businesses leaders have launched a push to make Broadway more family-friendly. Even Joe Carouba, who runs most of the strip clubs in North Beach, \u003ca href=\"https://www.sfgate.com/bayarea/article/Residents-nightclubs-building-a-better-Broadway-4757808.php\">has said\u003c/a> he wants no additional dance or strip clubs on Broadway. He’s vice president of the Top of Broadway Community Benefit District, a quasi-public entity funded by levies on property owners; its board includes Hue competitors such as the owner of Monroe, a nightclub next door. Last July, the CBD complained to the Entertainment Commission about Hue’s “detrimental presence.”\u003c/p>\n\u003cp>All of which leads to Montoya’s claim that Hue has been held to a higher standard than his neighbors. In 2013, for example, local and federal investigators said an employee of Carouba operation Centerfolds \u003ca href=\"http://www.marinatimes.com/2014/03/missing-in-action-where-were-the-telegraph-hill-dwellers-after-broadway-bombing/\">detonated a bomb\u003c/a> in the doorway of Broadway Studios, which is co-owned by outspoken Hue critics Karl Pleskot and Francesca Valdez. The incident garnered no Entertainment Commission attention. Likewise, a recent investigation of fraud at strip clubs hasn’t stirred the nightlife regulators, either.\u003c/p>\n\u003cfigure id=\"attachment_13842438\" 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/HueNightclub.Maps_-800x437.jpg\" alt=\"Hue nightclub in the daytime.\" width=\"800\" height=\"437\" class=\"size-medium wp-image-13842438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-768x419.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-1020x557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-1200x655.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-1180x644.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-960x524.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-520x284.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hue nightclub in the daytime. \u003ccite>(via Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montoya said Hue has been singled out because the club doesn’t conform to the tempered vision of Broadway shared by local business interests as well as the police. He recalled how Central Station captain Lazar repeatedly told him that Hue attracts “the wrong crowd—a crowd we don’t want,” a comment corroborated in the ABC hearing by former CBD head Benjamin Horne. (Lazar, who’s since been promoted to commander of the department’s Community Engagement Division, didn’t respond to an interview request.)\u003c/p>\n\u003cp>The suit describes the campaign in the context of black people accounting for 6 percent of the city’s population, yet 42 percent of its arrests. In the Broadway area, SFPD data show, more than half of the people arrested are black. Montoya called it cultural repression, predicting that clubs catering to people of color with hip-hop programming will disappear from San Francisco. “At first Lazar was blunt about not liking our clientele,” he said. \u003c/p>\n\u003cp>“But I think he read my body language and saw I was uncomfortable.” Montoya continued, “So then he started adding, ‘…but I can’t tell you what kind of music to play.’”\u003c/p>\n\u003cfigure id=\"attachment_13842312\" 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/Hue.DavidLazar-800x457.jpg\" alt=\"Former SFPD Central Station Captain David Lazar appears before the Entertainment Commission in 2017.\" width=\"800\" height=\"457\" class=\"size-medium wp-image-13842312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.DavidLazar.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.DavidLazar-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.DavidLazar-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.DavidLazar-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.DavidLazar-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.DavidLazar-520x297.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former SFPD Central Station Captain David Lazar appears before the Entertainment Commission in 2017. \u003ccite>(via San Francisco Entertainment Commission / Granicus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Last Straw’\u003c/h2>\n\u003cp>SFPD cited the gun-waving story from Dec. 13, 2014 often: Lazar referenced it in a \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Lazar-letter-to-CBD.pdf\">letter to the CBD [PDF]\u003c/a> and in remarks to the Entertainment Commission. Officer David Falzon, who’s now the commission’s law-enforcement representative, included it weeks later in a letter urging commission director Jocelyn Kane to \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Falzon-letter-to-Kane.pdf\">suspend Hue’s entertainment permit [PDF]\u003c/a>.\u003c/p>\n\u003cp>At the next commission hearing, Falzon emphasized that SFPD was committed to closing the club. “Our plan to is to come before you in the very near future with revocation,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13842518\" 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/Hue.JordanPauley-800x529.jpg\" alt=\"Former Entertainment Commission inspector Jordan Pauley, who cited the Commission's treatment of Hue when he resigned in 2017.\" width=\"800\" height=\"529\" class=\"size-medium wp-image-13842518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-1200x794.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-960x635.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-520x344.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Entertainment Commission inspector Jordan Pauley, who cited the Commission’s treatment of Hue when he resigned in 2017. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exchange troubled Jordan Pauley, who was then a commission inspector tasked with mediating disputes and investigating violations. Cousins of his were in the club that night, and they didn’t recall brawls or guns. Nor did anything of the sort appear on security footage. Pauley said he pointed out the discrepancy to commissioners in a memo, but felt ignored. It wasn’t the first time he thought SFPD provided dubious evidence to discipline a hip-hop club.\u003cbr>\n \u003cbr>\nPauley eventually resigned from the Entertainment Commission in protest. “The Hue situation was the last straw,” he said.\u003c/p>\n\u003cp>In June 2017, with the ABC charges sputtering, SFPD asked the Entertainment Commission to limit Hue’s entertainment hours to midnight. Steve Matthias, the other officer named in the suit, provided documentation of \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/65-Incidents-Spreadsheet.pdf\">65 Hue-related incidents [PDF]\u003c/a>. (Matthias didn’t respond to an interview request, but he’s dismissed the discrimination accusations as a “creative defense” in public hearings.) Supervisor Aaron Peskin appeared before the commission for the first time in his career to advocate revoking Hue’s entertainment permit outright.\u003c/p>\n\u003cp>But like the 47 charges dismissed in the ABC case, the documentation mostly reflects computer-aided dispatch (CAD) reports, which convey only cursory details of a complaint or crime observed. The 65 incidents include noise, public intoxication and street fights, but some of the officers’ descriptions seem to undermine their own case: One entry logging a February 2017 fight reads, “DOES NOT SPECIFY SPECIFICALLY HUE RELATED.” \u003c/p>\n\u003cfigure id=\"attachment_13842513\" 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/Hue.Incidients.list_-800x401.jpg\" alt=\"Some of the incidents submitted by the SFPD were acknowledged to be from different addresses, different nightclubs on Broadway, or to 'NOT SPECIFY SPECIFICALLY HUE RELATED.'\" width=\"800\" height=\"401\" class=\"size-medium wp-image-13842513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-800x401.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-768x385.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-1020x511.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-960x481.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the incidents submitted by the SFPD were acknowledged to be from different addresses, different nightclubs on Broadway, or to ‘NOT SPECIFY SPECIFICALLY HUE RELATED.’ \u003ccite>(via California ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pauley said commissioners openly questioned the CAD reports’ credibility in private, with good reason: By the time of the June hearing, ABC authorities had criticized officers’ intentions and tactics in targeting the club, and Pauley himself had documented discrepancies. “Everyone knew the CADs were bogus,” he said. When commissioners nevertheless acted on the reports, Pauley said, they bowed to political pressure.\u003c/p>\n\u003cp>(Maggie Weiland, who replaced Kane as commission director last year, declined to answer questions about the credibility of the reports informing commission decisions on Hue. “The EC holds its own proceedings and receives its own evidence,” she said.)\u003c/p>\n\u003cp>The Entertainment Commission relaxed Hue’s restrictions earlier this year, allowing live entertainment until 1am on Fridays and 2am on Saturdays. On Sept. 18, Montoya appeared before the commission again and asked for them to be lifted completely. The hearing resembled earlier ones: Neighbors, including a representative of the CBD, assessed Hue’s noise and security. Pleskot, the Broadway Studios co-owner, turned away from the dais and pointed at Montoya to call him a liar during public comment.\u003c/p>\n\u003cp>Then Matthias, the commission’s SFPD liaison, flagged one violent incident stemming from the club in the six months prior, a “major Hue-related fight” on May 27. Hue club-goers had started a brawl in a liquor store across the street, even punching a bystander in the back of the head, security footage showed, and then someone fired a handgun into the air on the sidewalk outside before running away. After the gunfire, Montoya had called the police himself.\u003c/p>\n\u003cp>Though Matthias said that “Hue patrons were most definitely the catalyst,” he emphasized that he wasn’t sure if the gunman had been at Hue. The commission voted to extend the club’s entertainment hours slightly, to 1am on Wednesdays and Thursdays.\u003c/p>\n\u003cfigure id=\"attachment_13842490\" 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/Hue.Bennett.LogoSign-800x450.jpg\" alt=\"Bennett Montoya at Hue Nightclub in North Beach, which he's owned and operated since 2008.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13842490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bennett Montoya at Hue Nightclub in North Beach, which he’s owned and operated since 2008. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montoya said he feels vindicated by the July ABC decision that SFPD unfairly targeted Hue, and he hopes the civil-rights suit resolves similarly. “It showed that, in a legal forum, we can prove the lies,” he said.\u003c/p>\n\u003cp>But it doesn’t help the business’ mounting debt, and as long as the ABC case is tied up in appeals, he’s not allowed to sell the club’s liquor license, its most valuable asset. \u003c/p>\n\u003cp>“There’s been times my wife and I have just wanted to move on, but we can’t even sell the company right now,” he said. “It’s just become more and more clear that, if the cops can’t get us at the commission or through ABC, they can try to drive us to bankruptcy.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "In a lawsuit claiming racial discrimination, owners allege that SFPD targeted Hue nightclub because of its black clientele.",
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"description": "In a lawsuit claiming racial discrimination, owners allege that SFPD targeted Hue nightclub because of its black clientele.",
"title": "'Singled Out': Inside SFPD's Years-Long Effort to Kill a North Beach Nightclub | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To hear San Francisco police tell it, Dec. 13, 2014 was a terrifying night inside North Beach nightclub Hue.\u003c/p>\n\u003cp>According to statements and letters from command staff at Central Station, it began when multiple fights roiled the largest dance club on a bustling block of Broadway. At the center of the action was a woman in white. And then things escalated: two combatants, both of them reported as black men, brandished concealed firearms. Hue erupted in shouts of “They got guns!” \u003c/p>\n\u003cp>But none of the club staff or security working that night could remember any of it. Hue owner Bennett Montoya didn’t find any evidence of the brawling and gun waving on security footage. An Entertainment Commission inspector from City Hall concluded that the incidents, which police said warranted stiff penalties, didn’t happen. And then the police witness’ recollection fell apart under oath, with a judge striking his testimony from the record.\u003c/p>\n\u003cp>The Dec. 13 story is just one of what Montoya and the now-former inspector, Jordan Pauley, call dozens of false or misleading police reports created in a years-long campaign to close or bankrupt the club. Now, Montoya’s pending \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Civil-rights-lawsuit.pdf\">federal civil-rights lawsuit [PDF]\u003c/a> naming the city and two officers, alleges the campaign is discriminatory, with SFPD targeting the club because of its hip-hop programming and black clientele. \u003c/p>\n\u003cfigure id=\"attachment_13842516\" 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/Hue.interior-800x533.jpg\" alt=\"The interior of Hue nightclub in North Beach.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13842516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.interior.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of Hue nightclub in North Beach. \u003ccite>(via Hue / Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Singled Out\u003c/h2>\n\u003cp>Since 2014, SFPD has urged city nightlife regulators at the Entertainment Commission to revoke Hue’s entertainment permit, and separately challenged its liquor license through the state department of Alcoholic Beverage Control. The police, plus influential politicos and neighborhood groups, characterize Hue as a mismanaged, violence-prone blight upon Broadway’s reforming nightlife scene, plying patrons with booze until they stumble outside, throwing punches and worse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Andrew Diamond, a real-estate investor who’s lived next door since 2007, has been outspoken about what he considers chronic over-serving at the club and thumping bass emanating into his home. In an interview, he said Montoya’s selective-enforcement argument lacks merit, but added that, in the past year, club management has grown more responsive to his complaints. “I think the great efforts of the police and the Entertainment Commission have made Hue perform better as neighbors,” he said.\u003c/p>\n\u003cp>In a statement to KQED, city attorney spokesperson John Coté called the racial discrimination suit baseless. “For many years, community members have voiced concerns about overly intoxicated patrons from this establishment creating problems in the neighborhood, including violent fights,” he said, adding that the club “doesn’t have the right to create an unsafe environment.”\u003c/p>\n\u003cfigure id=\"attachment_13842311\" 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/Hue.SteveMatthias-800x439.jpg\" alt=\"SFPD officer Steve Matthias, named in a racial discrimination lawsuit, appears before the Entertainment Commission in 2018.\" width=\"800\" height=\"439\" class=\"size-medium wp-image-13842311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-800x439.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-1020x560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-960x527.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.SteveMatthias.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SFPD officer Steve Matthias, named in a racial discrimination lawsuit, appears before the Entertainment Commission in 2018. \u003ccite>(via San Francisco Entertainment Commission / Granicus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet a July 2018 \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/July-18-ABC-Appeals-Board-Decision.pdf\">ABC Appeals Board decision [PDF]\u003c/a> supports Montoya’s view that police have unfairly targeted Hue, laying all of the problems of a bacchanalian block on the doorstep of one of the city’s few remaining hip-hop clubs. Evidence presented at the hearing, the board wrote, established that Hue was “singled out for unique surveillance and enforcement” and blamed for “more than its fair share” of incidents on the block, and that the treatment resulted from “the desire of [former Central Station Captain David Lazar] and the SFPD to reduce African-American patronage of [Hue] by eliminating hip-hop music.”\u003c/p>\n\u003cp>That decision, which is being appealed, comes after the appeals board dismissed more than 90 percent of 52 total police reports of violence and crime at Hue, deeming them insubstantial as evidence. But it’s of little relief to Montoya, whose entertainment hours were limited last June to midnight, instead of 2am, by the Entertainment Commission. Montoya objects to the commission continuing to act on police reports judged unreliable and of “discriminatory design” in the ABC case, and his suit seeks to recover the hundreds of thousands he’s spent defending his business.\u003c/p>\n\u003cp>“At this point I’m all in,” Montoya said, likening the showdown to poker. “I can’t fold.”\u003c/p>\n\u003ch2>On the 400 Block\u003c/h2>\n\u003cp>On a recent Friday night, Montoya was anticipating a crowd of 150 for Rumba Latina, a Latin music night. Seven security guards were working, ready to use ID scanners and metal-detecting wands. Attendees at Hue are subject to pat-downs and searches; ins-and-outs aren’t allowed. Throughout events, Montoya cleans and takes pictures of the next-door alley, lest trash be blamed on Hue patrons, and he meters sound every hour, even though the speakers are limited to commission-approved levels.\u003c/p>\n\u003cfigure id=\"attachment_13842489\" 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/Hue.Bennett.Couch_-800x450.jpg\" alt=\"Bennett Montoya at Hue nightclub in North Beach.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13842489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.Couch_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bennett Montoya at Hue nightclub in North Beach. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003cbr>\nThe 36-year-old Redwood City native sat on a white leather couch in the back of the 400-capacity, two-room club just before doors opened. Montoya worked in finance before launching Hue in 2008 under the name Atmosphere, and cultivated a fleet of resident DJs while also hosting after-parties for high-profile hip-hop and R&B artists such as G-Eazy and Miguel. (The club rebranded as Hue in 2015.) \u003c/p>\n\u003cp>“When I’m here now, I’m mostly just making sure we’re complying with all of the conditions,” Montoya said. “And feeling anxious about the cops coming again.”\u003c/p>\n\u003cp>Montoya operated without enforcement actions for six years. But once David Lazar took command at Central Station in 2014, the suit alleges, he directed officers to park outside the club and blame it for any incident nearby. That would explain why some noise complaints use Hue’s address, but show the names of other clubs or call the source “unknown.” The ABC appeals board concluded that the club’s address, 447 Broadway, was used for “incidents that occurred anywhere on the street.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Outside Hue on the night of Rumba Latina, street behavior matched North Beach’s reputation as one of the last outposts of the Barbary Coast. Patrons in the smoking patio of a club next door passed drinks to their friends in line. A bar across the street advertised an event called “Beer Olympics.” Tourists leaving a hostel wondered aloud in thick accents about scoring drugs while strip-club bouncers pitched lap dances to passersby. It was just shy of 10pm.\u003c/p>\n\u003cp>But businesses leaders have launched a push to make Broadway more family-friendly. Even Joe Carouba, who runs most of the strip clubs in North Beach, \u003ca href=\"https://www.sfgate.com/bayarea/article/Residents-nightclubs-building-a-better-Broadway-4757808.php\">has said\u003c/a> he wants no additional dance or strip clubs on Broadway. He’s vice president of the Top of Broadway Community Benefit District, a quasi-public entity funded by levies on property owners; its board includes Hue competitors such as the owner of Monroe, a nightclub next door. Last July, the CBD complained to the Entertainment Commission about Hue’s “detrimental presence.”\u003c/p>\n\u003cp>All of which leads to Montoya’s claim that Hue has been held to a higher standard than his neighbors. In 2013, for example, local and federal investigators said an employee of Carouba operation Centerfolds \u003ca href=\"http://www.marinatimes.com/2014/03/missing-in-action-where-were-the-telegraph-hill-dwellers-after-broadway-bombing/\">detonated a bomb\u003c/a> in the doorway of Broadway Studios, which is co-owned by outspoken Hue critics Karl Pleskot and Francesca Valdez. The incident garnered no Entertainment Commission attention. Likewise, a recent investigation of fraud at strip clubs hasn’t stirred the nightlife regulators, either.\u003c/p>\n\u003cfigure id=\"attachment_13842438\" 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/HueNightclub.Maps_-800x437.jpg\" alt=\"Hue nightclub in the daytime.\" width=\"800\" height=\"437\" class=\"size-medium wp-image-13842438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-768x419.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-1020x557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-1200x655.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-1180x644.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-960x524.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/HueNightclub.Maps_-520x284.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hue nightclub in the daytime. \u003ccite>(via Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montoya said Hue has been singled out because the club doesn’t conform to the tempered vision of Broadway shared by local business interests as well as the police. He recalled how Central Station captain Lazar repeatedly told him that Hue attracts “the wrong crowd—a crowd we don’t want,” a comment corroborated in the ABC hearing by former CBD head Benjamin Horne. (Lazar, who’s since been promoted to commander of the department’s Community Engagement Division, didn’t respond to an interview request.)\u003c/p>\n\u003cp>The suit describes the campaign in the context of black people accounting for 6 percent of the city’s population, yet 42 percent of its arrests. In the Broadway area, SFPD data show, more than half of the people arrested are black. Montoya called it cultural repression, predicting that clubs catering to people of color with hip-hop programming will disappear from San Francisco. “At first Lazar was blunt about not liking our clientele,” he said. \u003c/p>\n\u003cp>“But I think he read my body language and saw I was uncomfortable.” Montoya continued, “So then he started adding, ‘…but I can’t tell you what kind of music to play.’”\u003c/p>\n\u003cfigure id=\"attachment_13842312\" 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/Hue.DavidLazar-800x457.jpg\" alt=\"Former SFPD Central Station Captain David Lazar appears before the Entertainment Commission in 2017.\" width=\"800\" height=\"457\" class=\"size-medium wp-image-13842312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.DavidLazar.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.DavidLazar-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.DavidLazar-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.DavidLazar-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.DavidLazar-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.DavidLazar-520x297.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former SFPD Central Station Captain David Lazar appears before the Entertainment Commission in 2017. \u003ccite>(via San Francisco Entertainment Commission / Granicus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Last Straw’\u003c/h2>\n\u003cp>SFPD cited the gun-waving story from Dec. 13, 2014 often: Lazar referenced it in a \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Lazar-letter-to-CBD.pdf\">letter to the CBD [PDF]\u003c/a> and in remarks to the Entertainment Commission. Officer David Falzon, who’s now the commission’s law-enforcement representative, included it weeks later in a letter urging commission director Jocelyn Kane to \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Falzon-letter-to-Kane.pdf\">suspend Hue’s entertainment permit [PDF]\u003c/a>.\u003c/p>\n\u003cp>At the next commission hearing, Falzon emphasized that SFPD was committed to closing the club. “Our plan to is to come before you in the very near future with revocation,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13842518\" 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/Hue.JordanPauley-800x529.jpg\" alt=\"Former Entertainment Commission inspector Jordan Pauley, who cited the Commission's treatment of Hue when he resigned in 2017.\" width=\"800\" height=\"529\" class=\"size-medium wp-image-13842518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-1200x794.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-960x635.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.JordanPauley-520x344.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Entertainment Commission inspector Jordan Pauley, who cited the Commission’s treatment of Hue when he resigned in 2017. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exchange troubled Jordan Pauley, who was then a commission inspector tasked with mediating disputes and investigating violations. Cousins of his were in the club that night, and they didn’t recall brawls or guns. Nor did anything of the sort appear on security footage. Pauley said he pointed out the discrepancy to commissioners in a memo, but felt ignored. It wasn’t the first time he thought SFPD provided dubious evidence to discipline a hip-hop club.\u003cbr>\n \u003cbr>\nPauley eventually resigned from the Entertainment Commission in protest. “The Hue situation was the last straw,” he said.\u003c/p>\n\u003cp>In June 2017, with the ABC charges sputtering, SFPD asked the Entertainment Commission to limit Hue’s entertainment hours to midnight. Steve Matthias, the other officer named in the suit, provided documentation of \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/65-Incidents-Spreadsheet.pdf\">65 Hue-related incidents [PDF]\u003c/a>. (Matthias didn’t respond to an interview request, but he’s dismissed the discrimination accusations as a “creative defense” in public hearings.) Supervisor Aaron Peskin appeared before the commission for the first time in his career to advocate revoking Hue’s entertainment permit outright.\u003c/p>\n\u003cp>But like the 47 charges dismissed in the ABC case, the documentation mostly reflects computer-aided dispatch (CAD) reports, which convey only cursory details of a complaint or crime observed. The 65 incidents include noise, public intoxication and street fights, but some of the officers’ descriptions seem to undermine their own case: One entry logging a February 2017 fight reads, “DOES NOT SPECIFY SPECIFICALLY HUE RELATED.” \u003c/p>\n\u003cfigure id=\"attachment_13842513\" 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/Hue.Incidients.list_-800x401.jpg\" alt=\"Some of the incidents submitted by the SFPD were acknowledged to be from different addresses, different nightclubs on Broadway, or to 'NOT SPECIFY SPECIFICALLY HUE RELATED.'\" width=\"800\" height=\"401\" class=\"size-medium wp-image-13842513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-800x401.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-768x385.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-1020x511.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-960x481.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Incidients.list_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the incidents submitted by the SFPD were acknowledged to be from different addresses, different nightclubs on Broadway, or to ‘NOT SPECIFY SPECIFICALLY HUE RELATED.’ \u003ccite>(via California ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pauley said commissioners openly questioned the CAD reports’ credibility in private, with good reason: By the time of the June hearing, ABC authorities had criticized officers’ intentions and tactics in targeting the club, and Pauley himself had documented discrepancies. “Everyone knew the CADs were bogus,” he said. When commissioners nevertheless acted on the reports, Pauley said, they bowed to political pressure.\u003c/p>\n\u003cp>(Maggie Weiland, who replaced Kane as commission director last year, declined to answer questions about the credibility of the reports informing commission decisions on Hue. “The EC holds its own proceedings and receives its own evidence,” she said.)\u003c/p>\n\u003cp>The Entertainment Commission relaxed Hue’s restrictions earlier this year, allowing live entertainment until 1am on Fridays and 2am on Saturdays. On Sept. 18, Montoya appeared before the commission again and asked for them to be lifted completely. The hearing resembled earlier ones: Neighbors, including a representative of the CBD, assessed Hue’s noise and security. Pleskot, the Broadway Studios co-owner, turned away from the dais and pointed at Montoya to call him a liar during public comment.\u003c/p>\n\u003cp>Then Matthias, the commission’s SFPD liaison, flagged one violent incident stemming from the club in the six months prior, a “major Hue-related fight” on May 27. Hue club-goers had started a brawl in a liquor store across the street, even punching a bystander in the back of the head, security footage showed, and then someone fired a handgun into the air on the sidewalk outside before running away. After the gunfire, Montoya had called the police himself.\u003c/p>\n\u003cp>Though Matthias said that “Hue patrons were most definitely the catalyst,” he emphasized that he wasn’t sure if the gunman had been at Hue. The commission voted to extend the club’s entertainment hours slightly, to 1am on Wednesdays and Thursdays.\u003c/p>\n\u003cfigure id=\"attachment_13842490\" 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/Hue.Bennett.LogoSign-800x450.jpg\" alt=\"Bennett Montoya at Hue Nightclub in North Beach, which he's owned and operated since 2008.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13842490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Hue.Bennett.LogoSign-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bennett Montoya at Hue Nightclub in North Beach, which he’s owned and operated since 2008. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montoya said he feels vindicated by the July ABC decision that SFPD unfairly targeted Hue, and he hopes the civil-rights suit resolves similarly. “It showed that, in a legal forum, we can prove the lies,” he said.\u003c/p>\n\u003cp>But it doesn’t help the business’ mounting debt, and as long as the ABC case is tied up in appeals, he’s not allowed to sell the club’s liquor license, its most valuable asset. \u003c/p>\n\u003cp>“There’s been times my wife and I have just wanted to move on, but we can’t even sell the company right now,” he said. “It’s just become more and more clear that, if the cops can’t get us at the commission or through ABC, they can try to drive us to bankruptcy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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