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"content": "\u003cp>These days you can find Tongo Eisen-Martin, San Francisco’s Eighth Poet Laureate, spending much of his time not in the city but over in East Oakland.\u003c/p>\n\u003cp>He hasn’t abandoned his post. In fact, volunteering at Parker Community School, a self-governed space occupied by local activists, is exactly in line with his priorities as poet laureate.\u003c/p>\n\u003cp>In February, the Oakland Unified School District (OUSD) Board of Education \u003ca href=\"https://www.kqed.org/news/11915396/we-have-power-oakland-activists-camp-out-in-school-to-stop-its-closure\" target=\"_blank\" rel=\"noopener noreferrer\">voted to close, merge or reduce eleven schools\u003c/a> over the next two years, including what was then known as Parker K-8 School. The school district said insufficient enrollment made the changes necessary, but the plan met intense opposition from local families, who pointed out that many of the schools slated for closure disproportionately served high numbers of Black and Brown students, often in neighborhoods that had already become victim to disinvestment by the City of Oakland.\u003c/p>\n\u003cp>[pullquote align='right' size='medium' citation='Tongo Eisen-Martin']‘By the time you pick up the pen, it’s sort of too late. So much of craft begins with the life you live before you pick up the pen.’[/pullquote]\u003c/p>\n\u003cp>Of the eleven schools, Parker K-8 was one set to close before the start of the 2022-2023 school year. But the community wasn’t having it. The occupation began on May 25, the last day of instruction. That’s when, at least in the occupiers’ eyes, Parker K-8 became the Parker Community School. The movement is now entering its third month.\u003c/p>\n\u003cp>Since then, Eisen-Martin has spent much of his time behind a folding table and a laptop with posters that say “Don’t Talk To The Police” and “Community not Closures” behind him. He checks students and visitors in, helps out with programming and keeps an eye on the door.\u003c/p>\n\u003cp>This is still an occupied school, and people could be removed at any time.\u003c/p>\n\u003cp>“In a society like this, I think about police at the door all the time,” Eisen-Martin says.\u003c/p>\n\u003cp>Eisen-Martin is both an activist fighting against structural racism in America and a poet. In one of his poems he writes, “I’m not creative, I’m just the silliest of the revolutionaries.” Participating in a grassroots movement like this is actually part of his creative process.\u003c/p>\n\u003cp>“By the time you pick up the pen, it’s sort of too late. So much of craft begins with the life you live before you pick up the pen,” he says.\u003c/p>\n\u003cp>That mindset also informs the kind of curriculum that’s being taught at Parker K-8 now.[aside postid='news_11915396']“Before we even get to the classroom, we start with the energy of resistance and in that way, a poem or any type of writing takes care of itself,” Eisen-Martin says.\u003c/p>\n\u003cp>In his poetry, Eisen-Martin writes about “the neo-confederate tendency that’s been sweeping the nation.”\u003c/p>\n\u003cp>For him and his fellow activists, this occupation represents an important stand for the right of Black and Brown people to exist and thrive in rapidly gentrifying Oakland.\u003c/p>\n\u003cp>“The moves they’re making to close these schools is really part of a plan of ethnic cleansing of Oakland,” he says. “If you take a neighborhood and you take out all of its centers of gathering, we’re easier to move to the next reservation.”\u003c/p>\n\u003ch2>A Summer School for the Community, by the Community\u003c/h2>\n\u003cp>The schedule for students on Wednesday, July 6, included breakfast, community circle, jewelry, reading, P.E., political education, lunch, math/STEM, free time and history.\u003c/p>\n\u003cp>Political education is one of the main things that sets occupied Parker and OUSD Parker apart for 13-year-old Jasionna Landry, one of the students at the school.\u003c/p>\n\u003cp>“[Before], they would only teach us about simple Black history,” she says. “They didn’t really teach us about anything beyond that.”\u003c/p>\n\u003cp>Another student, 15-year-old Jayvien Bolden, says he is working on a play—admittedly, it’s a little autobiographical—about “a kid whose childhood school is getting shut down and he’s not gonna let it go so easily,” he says. “He’s gonna do everything he can to try to save it. And it’s about him bringing the community together.”\u003c/p>\n\u003cfigure id=\"attachment_13916724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/ROCHELLE.jpeg\" alt=\"A Woman stands with her son and two daughters outside of Parker Elementary\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ROCHELLE.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ROCHELLE-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ROCHELLE-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rochelle Jenkins (right); her son Jayvien Bolden, 15, a graduate of Parker; her daughter Zariah, 12; and another Parker student pose outside the school, May 26, 2022. \u003ccite>(Julia McEvoy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Eisen-Martin is one of the more high-profile activists in the occupation, “I’m not the main protagonist here,” he says.\u003c/p>\n\u003cp>That credit goes to Rochelle Jenkins, who began protesting with her four children, including Bolden and her two younger daughters who were still enrolled at the school. That was back in February, when Parker K-8 families found out about the proposed shutdown.\u003c/p>\n\u003cp>“They was like, ‘Well, mom, we need to go protest.’ And I was like, ‘You guys are absolutely right,’” Jenkins says.\u003c/p>\n\u003cp>So Jenkins, her kids and a few friends walked down to the corner of MacArthur Boulevard and Ritchie Street with homemade signs and started raising awareness. That snowballed into the current occupation, which Jenkins says can host around 25 to 30 students, teachers and volunteers on any given day.\u003c/p>\n\u003cp>Christina Beach co-taught a Black history lesson on the day that KQED visited. A former activist, she began to cry when she discussed her reasons for volunteering at Parker.\u003c/p>\n\u003cp>“The best thing you can do as an activist is create future leaders, and develop them and give them the confidence, skills, knowledge, to carry it on to future generations,” she says. “I feel like I’m part of it, and that’s exciting.”\u003c/p>\n\u003cp>There’s a lot going on at Parker among the volunteers, the teachers, the students and the spontaneous roller skate parties in the wood-floored gymnasium. But Jenkins says Eisen-Martin is “the glue that holds this whole thing together.”\u003c/p>\n\u003cp>“We actually all share a similar passion, and that’s a passion for people in the community,” she explains.\u003c/p>\n\u003cp>“He is truly a revolutionary poet in the sense that his words and his art are revolutionary, and his actions are also revolutionary,” says Anthony Walters, another school volunteer. “He has integrity as a Black man standing up for his community, and that is the strongest message that he can convey.”\u003c/p>\n\u003cfigure id=\"attachment_13916734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916734\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/oea-e1651267429722-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland teachers march on the picket line on April 29, 2022, outside Parker K-8 in East Oakland. The Oakland Unified School District closed the school on May 25, 2022. \u003ccite>(Julia McEvoy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Fly In The Ointment for the Powers That Be’\u003c/h2>\n\u003cp>With all the talk of revolution and the fight against fascism, things feel pretty mellow at Parker Community School on a recent Wednesday afternoon. A group of about eight children play piano and run around in a large gymnasium. About four volunteers filter in and out. An older man comes in to get some free food and coffee.\u003c/p>\n\u003cp>This leaves Eisen-Martin some time to focus on his other projects. His publishing company, \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, put out two new poetry books this month and has one more slated for August. Eisen-Martin’s duties as Poet Laureate include authoring a new collection of poetry for San Francisco’s iconic \u003ca href=\"https://citylights.com/\" target=\"_blank\" rel=\"noopener noreferrer\">City Lights Booksellers & Publishers\u003c/a>, co-founded in 1953 by beat poet Lawrence Ferlinghetti. It’s “a beautiful obligation” that’s “coming along,” Eisen-Martin says.\u003c/p>\n\u003cfigure id=\"attachment_13916737\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916737\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_1442-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elaine Katzenberger, publisher and executive director of City Lights Books in her office. \u003ccite>(Azul Dahlstrom-Eckman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Blood-on-the-Fog-excerpt.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Read an excerpt from the poem “Third in the World”\u003c/a> from Eisen-Martin’s collection \u003cem>Blood on the Fog\u003c/em> (City Lights, 2021), published with permission from City Lights Booksellers & Publishers.\u003c/em>]\u003c/p>\n\u003cp>“Poetry is not going to change the world by itself, but poetry changes people,” says Elaine Katzenberger, publisher and executive director of City Lights. “Poetry opens people’s minds and their hearts and stimulates their brains. All of that is what stimulates social change and a sense of community. So poetry used for that purpose is ultimately more powerful than reading some revolutionary tract.”\u003c/p>\n\u003cp>Katzenberger says that previous San Francisco Poet Laureates have also used their role for activism. “You’re supposed to be in the community stimulating minds and bringing poetry to the people somehow, and different laureates have done that in different ways.”\u003c/p>\n\u003cp>But at 42 years old, “Tongo is a great deal younger than previous laureates, and he’s also more politically active than I think anyone has been so far,” she explains.\u003c/p>\n\u003cp>Katzenberger says that Eisen-Martin is a perfect representation of the idea that a poet should be a “fly in the ointment for the powers that be.”\u003c/p>\n\u003cp>She first heard Eisen-Martin at a poetry reading in 2019, and thought hearing him perform was more like listening to a musician.\u003c/p>\n\u003cp>“It sounds improvisatory. He’s not reading, he’s actually reciting,” says Katzenberger. “Each time there is a performance it’s a little bit different from whatever else you might have experienced.”\u003c/p>\n\u003cp>Eisen-Martin’s 6-foot-8 frame commands its own gravity. His voice rumbles, at times lethargic, offering his deliberate, pensive view of the world. [aside postid='arts_13900077']That all changes when he gets on the stage. His pacing can vary between sedated and frenetic, humorous and chaotic, morose and furious. He enters a sort of trance, bobbing his head, in the same poem he can sound like a rapper freestyling and a grandfather recalling a fading memory.\u003c/p>\n\u003ch2>‘The Steph Curry of Poetry’\u003c/h2>\n\u003cp>That style was on display at the June 18 record release party for Eisen-Martin’s debut album at the Great American Music Hall in San Francisco. The album is a collection of his poems read aloud, with no musical accompaniment. It’s called \u003ca href=\"https://tongoeisen-martin.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I follow the railroad tracks to the station of my enemies\u003c/em>\u003c/a>, put out by local record label Rocks In Your Head Records. The record’s title is the first line of one of the poems featured in the collection, called “I do not know the spelling of money.”\u003c/p>\n\u003cp>“I think the idea was a kind of a throwback effort as far as, you know, a nod to a Langston Hughes recording, or an Audre Lorde recording that you would come across,” says Eisen-Martin. “Rocks In Your Head wanted to do something like that for the contemporary era.”\u003c/p>\n\u003cfigure id=\"attachment_13916739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916739\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_5697-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin recites his poetry at Great American Music Hall on June 18, 2022. \u003ccite>(Cecile Morgan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance at Great American Music Hall featured Eisen-Martin reciting the collection of poems with the backing of a jazz band and vocalist. A fog machine diffused light behind Eisen-Martin as his words tip-toed and danced over stanzas. The mostly full crowd either sat or stood, making the scene feel like a cross between an old-school North Beach poetry reading and a modern-day poetry slam.\u003c/p>\n\u003cp>Seated among the audience was a longtime San Francisco poet, Mike the Monolyth Stewart. He says watching Eisen-Martin perform is like watching “the Steph Curry of poetry.” Like Eisen-Martin, Stewart spends his time both writing his own poetry and working with youth to help them write their own.[pullquote align='right' size='medium' citation='Tongo Eisen-Martin']‘The moves they’re making to close these schools is really part of a plan of ethnic cleansing of Oakland. If you take a neighborhood and you take out all of its centers of gathering, we’re easier to move to the next reservation.’[/pullquote]“As a counselor with kids for 20-plus years, I see how all that artistry gleans into the kids. When you bring artistry to them and help them recognize a better life, that’s where the revolution is,” says Stewart.\u003c/p>\n\u003cp>Eisen-Martin himself credits his artistic awakening to the experiences he had as a youth. “I learned poetry all over the village that raised me,” Eisen-Martin says. “I got lucky that way, being born to a more radical family, both immediate and cosmically constructed.”\u003c/p>\n\u003cp>His upbringing was kind of like a community school.\u003c/p>\n\u003ch2>The Occupation Continues\u003c/h2>\n\u003cp>On the day that KQED visited Parker Community School, the occupation was celebrating its 50th day. But the future of it is tenuous at best. While the atmosphere is relaxed, it has to be occupied 24/7, and volunteers regularly patrol the premises. It seems that there is an expectation that it could be shut down at any moment.\u003c/p>\n\u003cp>Rochelle Jenkins, the main organizer behind the occupation, said she and another activist have been meeting with OUSD Board leadership, but said she couldn’t disclose what’s been discussed. Jenkins and others fear OUSD will sell the school to the highest bidder, possibly turning it into a housing development or a charter school. Whatever happens, Jenkins says her priority is to make sure any replacement of Parker will serve the community that lives in the neighborhood now.\u003c/p>\n\u003cp>“If you don’t want to keep it open as a school, can you at least keep it open as a community recreation center or something that’s going to continue to educate the kids in this community?” says Jenkins.\u003c/p>\n\u003cfigure id=\"attachment_13916729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916729 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin sits in a classroom at Parker Elementary School in Oakland on July 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Proposals to the OUSD school board to either delay or stop the closure of Parker have so far been denied. In a statement, the district said that Parker was now closed and the individuals who remained there were trespassing.\u003c/p>\n\u003cp>At its May 25 board meeting, the OUSD superintendent proposed to open an Adult Education Community Service Center that would “serve adults in East Oakland and provide a variety of services based on the needs of that specific community,” an OUSD spokesperson told KQED via email. A board vote on the future use of Parker is expected by the end of September 2022.\u003c/p>\n\u003cp>That doesn’t seem to satisfy the occupiers. “The deeper declaration is that none of you matter and all of you will be gone soon,” says Eisen-Martin. “It really doesn’t make any sense for the school board to deny the will of the people.”\u003c/p>\n\u003cp>There’s a sense among Parker activists that this summer is a sort of calm before the storm. As the beginning of a new school year looms, OUSD may try to escalate their tactics to end the occupation, they fear. But among the volunteers, teachers and students, there is a dogged sense of optimism.\u003c/p>\n\u003cp>“It feels like this is a little bit of history in the making and that’s exciting,” says volunteer teacher Christina Beach.\u003c/p>\n\u003cp>Jenkins says whatever OUSD has in store, they’re ready. “I’m so thankful for the team that we have built here, because we’re able to just roll with the punches and take it on. Whatever it is that y’all have up y’all’s sleeve, believe me, we have a response for it.”\u003c/p>\n\u003cfigure id=\"attachment_13916719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-800x533.jpg\" alt='Tongo Eisen-Martin stands outside Parker Elementary on a sunny day. He is wearing a blue peacoat and green pants. The wall behind him says \"Parker Pride\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin stands outside of Parker Elementary School in Oakland on July 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, the school will continue with its educational programs but also with grocery giveaways to the community, poetry nights led by Eisen-Martin and community events on weekends.\u003c/p>\n\u003cp>While the closure of Parker has caused pain for its community, the ensuing occupation has spawned something meaningful, life-changing and, yes, maybe even revolutionary, in a way that harkens back to Oakland’s activist roots. That’s a piece of this story that Eisen-Martin can take solace in.\u003c/p>\n\u003cp>“I think it’s an inevitability that at a certain point, the system’s aggression is going to lead to a little piece of its downfall, right?” he muses.\u003c/p>\n\u003cp>That’s an ending that some might even call poetic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days you can find Tongo Eisen-Martin, San Francisco’s Eighth Poet Laureate, spending much of his time not in the city but over in East Oakland.\u003c/p>\n\u003cp>He hasn’t abandoned his post. In fact, volunteering at Parker Community School, a self-governed space occupied by local activists, is exactly in line with his priorities as poet laureate.\u003c/p>\n\u003cp>In February, the Oakland Unified School District (OUSD) Board of Education \u003ca href=\"https://www.kqed.org/news/11915396/we-have-power-oakland-activists-camp-out-in-school-to-stop-its-closure\" target=\"_blank\" rel=\"noopener noreferrer\">voted to close, merge or reduce eleven schools\u003c/a> over the next two years, including what was then known as Parker K-8 School. The school district said insufficient enrollment made the changes necessary, but the plan met intense opposition from local families, who pointed out that many of the schools slated for closure disproportionately served high numbers of Black and Brown students, often in neighborhoods that had already become victim to disinvestment by the City of Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of the eleven schools, Parker K-8 was one set to close before the start of the 2022-2023 school year. But the community wasn’t having it. The occupation began on May 25, the last day of instruction. That’s when, at least in the occupiers’ eyes, Parker K-8 became the Parker Community School. The movement is now entering its third month.\u003c/p>\n\u003cp>Since then, Eisen-Martin has spent much of his time behind a folding table and a laptop with posters that say “Don’t Talk To The Police” and “Community not Closures” behind him. He checks students and visitors in, helps out with programming and keeps an eye on the door.\u003c/p>\n\u003cp>This is still an occupied school, and people could be removed at any time.\u003c/p>\n\u003cp>“In a society like this, I think about police at the door all the time,” Eisen-Martin says.\u003c/p>\n\u003cp>Eisen-Martin is both an activist fighting against structural racism in America and a poet. In one of his poems he writes, “I’m not creative, I’m just the silliest of the revolutionaries.” Participating in a grassroots movement like this is actually part of his creative process.\u003c/p>\n\u003cp>“By the time you pick up the pen, it’s sort of too late. So much of craft begins with the life you live before you pick up the pen,” he says.\u003c/p>\n\u003cp>That mindset also informs the kind of curriculum that’s being taught at Parker K-8 now.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Before we even get to the classroom, we start with the energy of resistance and in that way, a poem or any type of writing takes care of itself,” Eisen-Martin says.\u003c/p>\n\u003cp>In his poetry, Eisen-Martin writes about “the neo-confederate tendency that’s been sweeping the nation.”\u003c/p>\n\u003cp>For him and his fellow activists, this occupation represents an important stand for the right of Black and Brown people to exist and thrive in rapidly gentrifying Oakland.\u003c/p>\n\u003cp>“The moves they’re making to close these schools is really part of a plan of ethnic cleansing of Oakland,” he says. “If you take a neighborhood and you take out all of its centers of gathering, we’re easier to move to the next reservation.”\u003c/p>\n\u003ch2>A Summer School for the Community, by the Community\u003c/h2>\n\u003cp>The schedule for students on Wednesday, July 6, included breakfast, community circle, jewelry, reading, P.E., political education, lunch, math/STEM, free time and history.\u003c/p>\n\u003cp>Political education is one of the main things that sets occupied Parker and OUSD Parker apart for 13-year-old Jasionna Landry, one of the students at the school.\u003c/p>\n\u003cp>“[Before], they would only teach us about simple Black history,” she says. “They didn’t really teach us about anything beyond that.”\u003c/p>\n\u003cp>Another student, 15-year-old Jayvien Bolden, says he is working on a play—admittedly, it’s a little autobiographical—about “a kid whose childhood school is getting shut down and he’s not gonna let it go so easily,” he says. “He’s gonna do everything he can to try to save it. And it’s about him bringing the community together.”\u003c/p>\n\u003cfigure id=\"attachment_13916724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/ROCHELLE.jpeg\" alt=\"A Woman stands with her son and two daughters outside of Parker Elementary\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ROCHELLE.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ROCHELLE-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ROCHELLE-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rochelle Jenkins (right); her son Jayvien Bolden, 15, a graduate of Parker; her daughter Zariah, 12; and another Parker student pose outside the school, May 26, 2022. \u003ccite>(Julia McEvoy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Eisen-Martin is one of the more high-profile activists in the occupation, “I’m not the main protagonist here,” he says.\u003c/p>\n\u003cp>That credit goes to Rochelle Jenkins, who began protesting with her four children, including Bolden and her two younger daughters who were still enrolled at the school. That was back in February, when Parker K-8 families found out about the proposed shutdown.\u003c/p>\n\u003cp>“They was like, ‘Well, mom, we need to go protest.’ And I was like, ‘You guys are absolutely right,’” Jenkins says.\u003c/p>\n\u003cp>So Jenkins, her kids and a few friends walked down to the corner of MacArthur Boulevard and Ritchie Street with homemade signs and started raising awareness. That snowballed into the current occupation, which Jenkins says can host around 25 to 30 students, teachers and volunteers on any given day.\u003c/p>\n\u003cp>Christina Beach co-taught a Black history lesson on the day that KQED visited. A former activist, she began to cry when she discussed her reasons for volunteering at Parker.\u003c/p>\n\u003cp>“The best thing you can do as an activist is create future leaders, and develop them and give them the confidence, skills, knowledge, to carry it on to future generations,” she says. “I feel like I’m part of it, and that’s exciting.”\u003c/p>\n\u003cp>There’s a lot going on at Parker among the volunteers, the teachers, the students and the spontaneous roller skate parties in the wood-floored gymnasium. But Jenkins says Eisen-Martin is “the glue that holds this whole thing together.”\u003c/p>\n\u003cp>“We actually all share a similar passion, and that’s a passion for people in the community,” she explains.\u003c/p>\n\u003cp>“He is truly a revolutionary poet in the sense that his words and his art are revolutionary, and his actions are also revolutionary,” says Anthony Walters, another school volunteer. “He has integrity as a Black man standing up for his community, and that is the strongest message that he can convey.”\u003c/p>\n\u003cfigure id=\"attachment_13916734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916734\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/oea-e1651267429722-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland teachers march on the picket line on April 29, 2022, outside Parker K-8 in East Oakland. The Oakland Unified School District closed the school on May 25, 2022. \u003ccite>(Julia McEvoy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Fly In The Ointment for the Powers That Be’\u003c/h2>\n\u003cp>With all the talk of revolution and the fight against fascism, things feel pretty mellow at Parker Community School on a recent Wednesday afternoon. A group of about eight children play piano and run around in a large gymnasium. About four volunteers filter in and out. An older man comes in to get some free food and coffee.\u003c/p>\n\u003cp>This leaves Eisen-Martin some time to focus on his other projects. His publishing company, \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, put out two new poetry books this month and has one more slated for August. Eisen-Martin’s duties as Poet Laureate include authoring a new collection of poetry for San Francisco’s iconic \u003ca href=\"https://citylights.com/\" target=\"_blank\" rel=\"noopener noreferrer\">City Lights Booksellers & Publishers\u003c/a>, co-founded in 1953 by beat poet Lawrence Ferlinghetti. It’s “a beautiful obligation” that’s “coming along,” Eisen-Martin says.\u003c/p>\n\u003cfigure id=\"attachment_13916737\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916737\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_1442-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elaine Katzenberger, publisher and executive director of City Lights Books in her office. \u003ccite>(Azul Dahlstrom-Eckman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Blood-on-the-Fog-excerpt.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Read an excerpt from the poem “Third in the World”\u003c/a> from Eisen-Martin’s collection \u003cem>Blood on the Fog\u003c/em> (City Lights, 2021), published with permission from City Lights Booksellers & Publishers.\u003c/em>]\u003c/p>\n\u003cp>“Poetry is not going to change the world by itself, but poetry changes people,” says Elaine Katzenberger, publisher and executive director of City Lights. “Poetry opens people’s minds and their hearts and stimulates their brains. All of that is what stimulates social change and a sense of community. So poetry used for that purpose is ultimately more powerful than reading some revolutionary tract.”\u003c/p>\n\u003cp>Katzenberger says that previous San Francisco Poet Laureates have also used their role for activism. “You’re supposed to be in the community stimulating minds and bringing poetry to the people somehow, and different laureates have done that in different ways.”\u003c/p>\n\u003cp>But at 42 years old, “Tongo is a great deal younger than previous laureates, and he’s also more politically active than I think anyone has been so far,” she explains.\u003c/p>\n\u003cp>Katzenberger says that Eisen-Martin is a perfect representation of the idea that a poet should be a “fly in the ointment for the powers that be.”\u003c/p>\n\u003cp>She first heard Eisen-Martin at a poetry reading in 2019, and thought hearing him perform was more like listening to a musician.\u003c/p>\n\u003cp>“It sounds improvisatory. He’s not reading, he’s actually reciting,” says Katzenberger. “Each time there is a performance it’s a little bit different from whatever else you might have experienced.”\u003c/p>\n\u003cp>Eisen-Martin’s 6-foot-8 frame commands its own gravity. His voice rumbles, at times lethargic, offering his deliberate, pensive view of the world. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That all changes when he gets on the stage. His pacing can vary between sedated and frenetic, humorous and chaotic, morose and furious. He enters a sort of trance, bobbing his head, in the same poem he can sound like a rapper freestyling and a grandfather recalling a fading memory.\u003c/p>\n\u003ch2>‘The Steph Curry of Poetry’\u003c/h2>\n\u003cp>That style was on display at the June 18 record release party for Eisen-Martin’s debut album at the Great American Music Hall in San Francisco. The album is a collection of his poems read aloud, with no musical accompaniment. It’s called \u003ca href=\"https://tongoeisen-martin.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I follow the railroad tracks to the station of my enemies\u003c/em>\u003c/a>, put out by local record label Rocks In Your Head Records. The record’s title is the first line of one of the poems featured in the collection, called “I do not know the spelling of money.”\u003c/p>\n\u003cp>“I think the idea was a kind of a throwback effort as far as, you know, a nod to a Langston Hughes recording, or an Audre Lorde recording that you would come across,” says Eisen-Martin. “Rocks In Your Head wanted to do something like that for the contemporary era.”\u003c/p>\n\u003cfigure id=\"attachment_13916739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916739\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_5697-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin recites his poetry at Great American Music Hall on June 18, 2022. \u003ccite>(Cecile Morgan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance at Great American Music Hall featured Eisen-Martin reciting the collection of poems with the backing of a jazz band and vocalist. A fog machine diffused light behind Eisen-Martin as his words tip-toed and danced over stanzas. The mostly full crowd either sat or stood, making the scene feel like a cross between an old-school North Beach poetry reading and a modern-day poetry slam.\u003c/p>\n\u003cp>Seated among the audience was a longtime San Francisco poet, Mike the Monolyth Stewart. He says watching Eisen-Martin perform is like watching “the Steph Curry of poetry.” Like Eisen-Martin, Stewart spends his time both writing his own poetry and working with youth to help them write their own.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“As a counselor with kids for 20-plus years, I see how all that artistry gleans into the kids. When you bring artistry to them and help them recognize a better life, that’s where the revolution is,” says Stewart.\u003c/p>\n\u003cp>Eisen-Martin himself credits his artistic awakening to the experiences he had as a youth. “I learned poetry all over the village that raised me,” Eisen-Martin says. “I got lucky that way, being born to a more radical family, both immediate and cosmically constructed.”\u003c/p>\n\u003cp>His upbringing was kind of like a community school.\u003c/p>\n\u003ch2>The Occupation Continues\u003c/h2>\n\u003cp>On the day that KQED visited Parker Community School, the occupation was celebrating its 50th day. But the future of it is tenuous at best. While the atmosphere is relaxed, it has to be occupied 24/7, and volunteers regularly patrol the premises. It seems that there is an expectation that it could be shut down at any moment.\u003c/p>\n\u003cp>Rochelle Jenkins, the main organizer behind the occupation, said she and another activist have been meeting with OUSD Board leadership, but said she couldn’t disclose what’s been discussed. Jenkins and others fear OUSD will sell the school to the highest bidder, possibly turning it into a housing development or a charter school. Whatever happens, Jenkins says her priority is to make sure any replacement of Parker will serve the community that lives in the neighborhood now.\u003c/p>\n\u003cp>“If you don’t want to keep it open as a school, can you at least keep it open as a community recreation center or something that’s going to continue to educate the kids in this community?” says Jenkins.\u003c/p>\n\u003cfigure id=\"attachment_13916729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916729 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin sits in a classroom at Parker Elementary School in Oakland on July 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Proposals to the OUSD school board to either delay or stop the closure of Parker have so far been denied. In a statement, the district said that Parker was now closed and the individuals who remained there were trespassing.\u003c/p>\n\u003cp>At its May 25 board meeting, the OUSD superintendent proposed to open an Adult Education Community Service Center that would “serve adults in East Oakland and provide a variety of services based on the needs of that specific community,” an OUSD spokesperson told KQED via email. A board vote on the future use of Parker is expected by the end of September 2022.\u003c/p>\n\u003cp>That doesn’t seem to satisfy the occupiers. “The deeper declaration is that none of you matter and all of you will be gone soon,” says Eisen-Martin. “It really doesn’t make any sense for the school board to deny the will of the people.”\u003c/p>\n\u003cp>There’s a sense among Parker activists that this summer is a sort of calm before the storm. As the beginning of a new school year looms, OUSD may try to escalate their tactics to end the occupation, they fear. But among the volunteers, teachers and students, there is a dogged sense of optimism.\u003c/p>\n\u003cp>“It feels like this is a little bit of history in the making and that’s exciting,” says volunteer teacher Christina Beach.\u003c/p>\n\u003cp>Jenkins says whatever OUSD has in store, they’re ready. “I’m so thankful for the team that we have built here, because we’re able to just roll with the punches and take it on. Whatever it is that y’all have up y’all’s sleeve, believe me, we have a response for it.”\u003c/p>\n\u003cfigure id=\"attachment_13916719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-800x533.jpg\" alt='Tongo Eisen-Martin stands outside Parker Elementary on a sunny day. He is wearing a blue peacoat and green pants. The wall behind him says \"Parker Pride\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin stands outside of Parker Elementary School in Oakland on July 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, the school will continue with its educational programs but also with grocery giveaways to the community, poetry nights led by Eisen-Martin and community events on weekends.\u003c/p>\n\u003cp>While the closure of Parker has caused pain for its community, the ensuing occupation has spawned something meaningful, life-changing and, yes, maybe even revolutionary, in a way that harkens back to Oakland’s activist roots. That’s a piece of this story that Eisen-Martin can take solace in.\u003c/p>\n\u003cp>“I think it’s an inevitability that at a certain point, the system’s aggression is going to lead to a little piece of its downfall, right?” he muses.\u003c/p>\n\u003cp>That’s an ending that some might even call poetic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "de-young-museum-acquires-42-new-works-by-bay-area-artists",
"title": "de Young Museum Acquires 42 New Works by Bay Area Artists",
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"headTitle": "de Young Museum Acquires 42 New Works by Bay Area Artists | KQED",
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"content": "\u003cp>The Fine Arts Museums of San Francisco \u003ca href=\"https://deyoung.famsf.org/press-room/major-new-acquisition-funded-svane-family-foundation-fosters-bay-area-arts-community?utm_medium=email&utm_source=famsfcomms&utm_campaign=general&utm_content=2022-07-11---cta&mc_cid=374ab3302a&mc_eid=b13f086c69\" target=\"_blank\" rel=\"noopener noreferrer\">announced on Monday\u003c/a> an exciting expansion of its contemporary Bay Area art collection with the acquisition of 42 works by 30 emerging and mid-career artists and collectives.\u003c/p>\n\u003cp>Funded by a $1 million donation from the \u003ca href=\"https://www.svaneff.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Svane Family Foundation\u003c/a>, the additions will be featured in a 2023 exhibition at the de Young. The list of artists is a who’s who of local (and sometimes formerly local) talent: Wesaam Al-Badry, Miguel Arzabe, Saif Azzuz, Sadie Barnette, Demetri Broxton, Sydney Cain, Maria A. Guzmán Capron, Woody De Othello, Kota Ezawa, Ana Teresa Fernández, Guillermo Galindo, Katy Grannan, Angela Hennessy, Liz Hernández, David Huffman, Chris Johanson, Sahar Khoury, Koak, Christiane Lyons, Ruby Neri, Rashaad Newsome, Ramekon O’Arwisters, Postcommodity, Clare Rojas, Muzae Sesay, Daisy May Sheff, Allison Smith, Stephanie Syjuco, Rupy C. Tut, and Chelsea Wong.\u003c/p>\n\u003cfigure id=\"attachment_13915924\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Wong_1200.jpg\" alt=\"\" width=\"1200\" height=\"1493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-1020x1269.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-768x956.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Ryoko Wong, ‘Mint Tea in the Sauna During Sunset,’ 2022; Acrylic on canvas; Museum purchase, a gift from the Svane Family Foundation. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Randy Dodson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to today’s announcement, more than half the artists are women and the majority are people of color. The acquisition builds on the de Young’s recent efforts to highlight the work of local artists, like the immensely popular 2020 show \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/de-young-open\" target=\"_blank\" rel=\"noopener noreferrer\">The de Young Open\u003c/a>\u003c/i>, a pandemic-prompted juried exhibition featuring work made in the nine Bay Area counties.\u003c/p>\n\u003cp>This isn’t the first time the Svane Family Foundation, created in 2019 by Zendesk Founder and CEO Mikkel Svane, has directed its money towards the Bay Area arts community in an effort to keep art (and artists) in the region. In late 2020, the foundation commissioned $1 million-worth of new work from 100 local artists, later exhibiting and auctioning the output as a fundraiser.\u003c/p>\n\u003cp>In a world where artists are routinely asked to donate works to auctions that support nonprofits (with varying percentages of return on the sales), the Svane model was a novel one, raising $330,100 for ArtSpan while paying the included artists for their work. (Full disclosure, this reporter was a recipient of a 2020 Svane commission.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The de Young donation finds the Svane Family Foundation following a more time-honored and institutional route—one that also benefits the galleries coordinating the sales. Selected by Claudia Schmuckli, curator in charge of contemporary art and programming, the 42 pieces came from 13 San Francisco galleries, five out-of-state spaces and three artists without representation.\u003c/p>\n\u003cfigure id=\"attachment_13915927\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Hernandez_1200.jpg\" alt=\"\" width=\"1200\" height=\"1433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-1020x1218.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-768x917.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liz Hernández, ‘Mi permiso secreto (My secret permission),’ 2022; Clay, gold leaf, and vinyl paint on canvas; Museum purchase, a gift from the Svane Family Foundation. \u003ccite>(Courtesy of the artist & Part Two; Photo by Randy Dodson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Over time,” Schmuckli says in the announcement, “the acquisition developed organically into thematic sections that reflect the issues artists here are grappling with at this very moment, including San Francisco’s own legacy of radical social consciousness and the threat that widespread gentrification poses to such independent thought.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps most importantly, the acquisitions mean these artists can now identify themselves as “collected by” the Fine Arts Museums: no small thing in the development of a long-term artistic career.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fine Arts Museums of San Francisco \u003ca href=\"https://deyoung.famsf.org/press-room/major-new-acquisition-funded-svane-family-foundation-fosters-bay-area-arts-community?utm_medium=email&utm_source=famsfcomms&utm_campaign=general&utm_content=2022-07-11---cta&mc_cid=374ab3302a&mc_eid=b13f086c69\" target=\"_blank\" rel=\"noopener noreferrer\">announced on Monday\u003c/a> an exciting expansion of its contemporary Bay Area art collection with the acquisition of 42 works by 30 emerging and mid-career artists and collectives.\u003c/p>\n\u003cp>Funded by a $1 million donation from the \u003ca href=\"https://www.svaneff.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Svane Family Foundation\u003c/a>, the additions will be featured in a 2023 exhibition at the de Young. The list of artists is a who’s who of local (and sometimes formerly local) talent: Wesaam Al-Badry, Miguel Arzabe, Saif Azzuz, Sadie Barnette, Demetri Broxton, Sydney Cain, Maria A. Guzmán Capron, Woody De Othello, Kota Ezawa, Ana Teresa Fernández, Guillermo Galindo, Katy Grannan, Angela Hennessy, Liz Hernández, David Huffman, Chris Johanson, Sahar Khoury, Koak, Christiane Lyons, Ruby Neri, Rashaad Newsome, Ramekon O’Arwisters, Postcommodity, Clare Rojas, Muzae Sesay, Daisy May Sheff, Allison Smith, Stephanie Syjuco, Rupy C. Tut, and Chelsea Wong.\u003c/p>\n\u003cfigure id=\"attachment_13915924\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Wong_1200.jpg\" alt=\"\" width=\"1200\" height=\"1493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-1020x1269.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Wong_1200-768x956.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Ryoko Wong, ‘Mint Tea in the Sauna During Sunset,’ 2022; Acrylic on canvas; Museum purchase, a gift from the Svane Family Foundation. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco; Photo by Randy Dodson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to today’s announcement, more than half the artists are women and the majority are people of color. The acquisition builds on the de Young’s recent efforts to highlight the work of local artists, like the immensely popular 2020 show \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/de-young-open\" target=\"_blank\" rel=\"noopener noreferrer\">The de Young Open\u003c/a>\u003c/i>, a pandemic-prompted juried exhibition featuring work made in the nine Bay Area counties.\u003c/p>\n\u003cp>This isn’t the first time the Svane Family Foundation, created in 2019 by Zendesk Founder and CEO Mikkel Svane, has directed its money towards the Bay Area arts community in an effort to keep art (and artists) in the region. In late 2020, the foundation commissioned $1 million-worth of new work from 100 local artists, later exhibiting and auctioning the output as a fundraiser.\u003c/p>\n\u003cp>In a world where artists are routinely asked to donate works to auctions that support nonprofits (with varying percentages of return on the sales), the Svane model was a novel one, raising $330,100 for ArtSpan while paying the included artists for their work. (Full disclosure, this reporter was a recipient of a 2020 Svane commission.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The de Young donation finds the Svane Family Foundation following a more time-honored and institutional route—one that also benefits the galleries coordinating the sales. Selected by Claudia Schmuckli, curator in charge of contemporary art and programming, the 42 pieces came from 13 San Francisco galleries, five out-of-state spaces and three artists without representation.\u003c/p>\n\u003cfigure id=\"attachment_13915927\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Hernandez_1200.jpg\" alt=\"\" width=\"1200\" height=\"1433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-1020x1218.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hernandez_1200-768x917.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liz Hernández, ‘Mi permiso secreto (My secret permission),’ 2022; Clay, gold leaf, and vinyl paint on canvas; Museum purchase, a gift from the Svane Family Foundation. \u003ccite>(Courtesy of the artist & Part Two; Photo by Randy Dodson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Over time,” Schmuckli says in the announcement, “the acquisition developed organically into thematic sections that reflect the issues artists here are grappling with at this very moment, including San Francisco’s own legacy of radical social consciousness and the threat that widespread gentrification poses to such independent thought.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps most importantly, the acquisitions mean these artists can now identify themselves as “collected by” the Fine Arts Museums: no small thing in the development of a long-term artistic career.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ybca-sf-gipa-guaranteed-income-artists-phase-two",
"title": "60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA",
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"content": "\u003cp>For the poets, musicians and visual artists receiving its $1,000 direct deposits every month, the \u003ca href=\"https://www.guaranteedinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists (SF-GIPA)\u003c/a> has been a lifeline in one of the most expensive cities in the world.\u003c/p>\n\u003cp>But not everyone was pleased with the way SF-GIPA was rolled out in May 2021. \u003ca href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\">Critics argued\u003c/a> that the Mayor’s Office should have selected an organization embedded in communities of color to administer the program—instead of the large, white-led institution Yerba Buena Center for the Arts (YBCA). And some took issue with YBCA narrowing down the final pool of 1,409 eligible applicants to 130 recipients using a randomization tool (essentially, a lottery system) rather than determining which artists faced the biggest financial hardships.\u003c/p>\n\u003cp>YBCA sought to remedy some of these issues in the selection process for SF-GIPA’s second cohort, which the organization is publicly announcing today. Thanks to funding from \u003ca href=\"https://startsmall.llc/\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Dorsey’s #StartSmall\u003c/a> foundation and a donation from billionaire \u003ca href=\"https://www.nytimes.com/2022/04/10/business/mackenzie-scott-charity.html\" target=\"_blank\" rel=\"noopener noreferrer\">McKenzie Scott\u003c/a>, which supplanted the city’s initial investment with $3.5 million, 60 additional artists began receiving monthly $1,000 payments between October 2021 and February 2022—funding which will continue for a total of 18 months.\u003c/p>\n\u003cp>While the first SF-GIPA cohort was selected through a public application process—the restrictions for which included an income cap and specific zip codes hit hardest by COVID-19—the second cohort was nominated by six partnering organizations, with years of grassroots work in their communities, that YBCA is calling the Creative Communities Coalition for Guaranteed Income.\u003c/p>\n\u003cp>“The organizations that we’re partnered with in this program were organizations that are cultural, spiritual, political leaders and anchors of their communities,” says Stephanie Imah, senior manager of artist investments at YBCA.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those organizations include \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería De La Raza\u003c/a> and the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center of San Francisco\u003c/a>, both social justice arts spaces open since the 1970s; \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, the publishing house co-founded by San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> and writer Alie Jones; \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a> and \u003ca href=\"https://www.sfbatco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Bay Area Theatre Company\u003c/a>, both performing arts organizations that center artists of color; and the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender District\u003c/a>, which formed in 2017 and offers career development and housing assistance programs for trans and gender-nonconforming people. [aside postid='arts_13913890']\u003c/p>\n\u003cp>Imah says YBCA let each of the six organizations choose 10 artists based on their own criteria. With so much need among San Francisco artists, YBCA wanted to avoid creating an “oppression Olympics” dynamic where artists must put their trauma on display to compete for funding. “For us working with these partners, it was really trust-based,” Imah says. “It was really leaning on this ethos that you are rooted in your communities, you are the best deciders of what your community needs and you are the closest to the issues.”\u003c/p>\n\u003cfigure id=\"attachment_13915184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35.jpg 1689w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YBCA partnered with six community organizations to nominate 60 additional artists for the San Francisco Guaranteed Income Pilot for Artists. From left to right: Ani Rivera of Galeria de la Raza, Jenny Leung of Chinese Culture Center, Rodney Jackson of SFBATCO (seated), Jiatian Wu of Chinese Culture Center, Ivette Diaz of Galeria de la Raza, Christian Medina Beltz of YBCA, Stella Adelman of Dance Mission Theater, Stephanie Imah of YBCA and Aisa Villarosa of YBCA. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah says YBCA chose the partnering organizations not only for their connections to artists of color and LGBTQ+ artists, but because they’re trusted by people who aren’t the typical audience for a capital-A Art institution like YBCA: immigrants and refugees who aren’t fluent English speakers, sex workers and people who’ve experienced homelessness. Many of the selected artists are involved in community organizing, often without pay. And all of them were hit hard with financial losses during the pandemic.\u003c/p>\n\u003cp>“This went to artists who were the heartbeat of the city, and who give so much to the city,” Imah says.\u003c/p>\n\u003ch2>Giving artists room to flourish\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/improvjav/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Reyes\u003c/a> is a perfect example of the type of artist YBCA wanted to reach. A poet nominated for SF-GIPA through Black Freighter Press, Reyes is a Christian faith leader and youth mentor born and raised in San Francisco. He connected with Black Freighter when he hosted a free writing workshop during the early part of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13915366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Reyes does youth ministry work at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes is used to working 10-hour days. Now, thanks to the Guaranteed Income payments, he can afford to take the summer off from his job at 100% College Prep to focus on building an e-sports lounge for teens at City Life Church in the Bayview. (Reyes says he got a $10,000 grant to pay youth to set up the facility; he’s not making money from it himself.)\u003c/p>\n\u003cp>“I thought it would be a good opportunity to get kids into college to think about the industry of video gaming and entertainment,” Reyes says.\u003c/p>\n\u003cp>Reyes considers himself a bridge-builder between the arts, San Francisco’s Black and Brown youth and the philanthropists who have the ability to fund much-needed community projects. Cultivating those relationships is often unpaid work. But guaranteed income gives him more freedom to focus on that, and the ability to turn down underpaying gigs.\u003c/p>\n\u003cp>“As artists, we just don’t use our money for us. We give back to our community,” Reyes says.\u003c/p>\n\u003cfigure id=\"attachment_13915365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The e-sports lounge in progress at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another SF-GIPA recipient nominated by the Chinese Culture Center, \u003ca href=\"https://www.homeisahotel.com/home/the-team\" target=\"_blank\" rel=\"noopener noreferrer\">Kar Yin Tham\u003c/a>, the guaranteed $1,000 per month allows her to focus on a film project years in the making: the documentary \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Home is a Hotel\u003c/i>\u003c/a>, which she’s co-directing and producing. \u003ci>Home is a Hotel\u003c/i> follows several residents of SROs, or single room occupancy hotels, as they attempt to rebuild their lives after facing incarceration and addiction or arriving to the United States as immigrants.\u003c/p>\n\u003cp>https://youtu.be/AGMXdl9Rjq0\u003c/p>\n\u003cp>Getting the SF-GIPA funding every month means Tham doesn’t need to take on as many corporate video gigs to make ends meet. “A lot of the commercial work that I had worked on is basically profiling these big companies and whatever products they’re trying to do,” she says. “And what I care about is social justice, what I care about is our communities.”\u003c/p>\n\u003cp>She says guaranteed income is an important way to support projects like \u003ci>Home is a Hotel\u003c/i>, which centers the most vulnerable members of society—the kind of story that typically doesn’t get funded in Hollywood. “A lot of times the investments are made into either an already-famous director or properties they consider to be easy to make profit,” says Tham.\u003c/p>\n\u003cfigure id=\"attachment_13915369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham films b-roll in Chinatown. The San Francisco Guaranteed Income for Artists has allowed her to focus on her documentary about SRO residents, ‘Home is a Hotel.’ \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kinds of stories I’m interested in are not usually what’s considered—how shall we say—‘worthy’ in mainstream media,” she says.\u003c/p>\n\u003cp>Arron Ritschell, a program associate at the Transgender District, observed a similar kind of flourishing in the artists their organization nominated for SF-GIPA. Ritschell says the Transgender District sought out people who were dealing with housing and job instability but didn’t qualify for pandemic unemployment. “We also wanted to prioritize transgender people of color and, specifically, Black transgender artists,” Ritschell says. [aside postid='arts_13914743']\u003c/p>\n\u003cp>Since the Transgender District’s 10 artists began receiving their $1,000 monthly payments in October, Ritschell and their team have checked in with participants in optional focus groups every few months. One artist shared that they’re using the funds to support a film project. Another was able to afford the tradeoff of taking a lower-paid, entry-level job in order to learn new skills, which they hope will set them up to apply for better paying work in the future. And a third artist used the money to buy video equipment and start a YouTube channel, which helped them build a resumé and get a well-paying job in social media marketing.\u003c/p>\n\u003cp>“That was amazing just to hear that they went from being denied for unemployment and having to rely on sex work and couch surfing,” says Ritschell, noting that they don’t see sex work as a bad thing, but are glad the participants can focus on their art. “Now they’re making the type of income where they’re able to not panic about where the rent money is coming in.”\u003c/p>\n\u003cfigure id=\"attachment_13915211\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/arron-ritschell-headshot-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Arron Ritschell, program associate at the Transgender District, says Guaranteed Income has helped some trans artists out of precarious financial situations. \u003ccite>(Courtesy of Arron Ritschell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>YBCA seeks to rebuild community trust\u003c/h2>\n\u003cp>“There’s a community of us that’s really just supporting each other and rooting for each other,” YBCA’s Imah says. “And I think that is probably one of the most beautiful things, especially when you compound that with gentrification, displacement and inability to fund for your basic needs and seeing individuals in other spaces like tech thriving.”\u003c/p>\n\u003cp>Along with YBCA’s announcement of the Creative Communities Coalition for Guaranteed Income, the organization also published an \u003ca href=\"https://ybca.org/learnings-on-equity-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">accountability statement\u003c/a> that acknowledges previous criticism of how the program was rolled out in May 2021. “We heard from many community leaders, activists, and organizations the ways in which our outreach and engagement efforts for SF-GIPA fell short. Pivotal conversation that followed affirmed that the pilot design process diminished authentic community input and created barriers around the application process most hurtful to BIPOC artists,” the statement reads in part.\u003c/p>\n\u003cp>Imah explained that some of YBCA’s advisors, including some leaders of the six Creative Communities Coalition organizations, were critical of the program’s rollout at first. “Now they’re working with us to build [the second phase] in the way that is truly in line with what they believe should have been done in the first place,” she says. “I think for me, that is a healing. That is a healing and an accountability that is rarely seen as a story of an institution, not only being accountable to themselves, being accountable to the community, and then doing the work to make it right.”\u003c/p>\n\u003cfigure id=\"attachment_13915368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham in Chinatown. \u003ccite>(Alexa Trevino )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah acknowledges that implementing SF-GIPA was an imperfect process. Even though artists have received payments since at least February, it took until now to announce the existence of the second cohort, she says, due to a combination of \u003ca href=\"https://ybca.org/ybca-celebrates-deborah-cullinan/\" target=\"_blank\" rel=\"noopener noreferrer\">leadership changes at YBCA\u003c/a>, a small, stretched-thin SF-GIPA team and changes within the Creative Communities Coalition organizations themselves. Furthermore, the coalition strived for a consensus-based approach, and hit some delays due to COVID illness within the participating group, Imah explains.\u003c/p>\n\u003cp>In a city like San Francisco, there’s far greater need than a pilot like this one could ever satisfy. Imah hopes SF-GIPA will become a permanent solution to fund the arts as the cost of housing and basic needs remains out of reach for many.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This is why we need guaranteed income from the city, and on the federal and on the state level,” she says. “This can’t be the burden of small organizations to [put] a Band-Aid on what is a systemic issue.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the poets, musicians and visual artists receiving its $1,000 direct deposits every month, the \u003ca href=\"https://www.guaranteedinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists (SF-GIPA)\u003c/a> has been a lifeline in one of the most expensive cities in the world.\u003c/p>\n\u003cp>But not everyone was pleased with the way SF-GIPA was rolled out in May 2021. \u003ca href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\">Critics argued\u003c/a> that the Mayor’s Office should have selected an organization embedded in communities of color to administer the program—instead of the large, white-led institution Yerba Buena Center for the Arts (YBCA). And some took issue with YBCA narrowing down the final pool of 1,409 eligible applicants to 130 recipients using a randomization tool (essentially, a lottery system) rather than determining which artists faced the biggest financial hardships.\u003c/p>\n\u003cp>YBCA sought to remedy some of these issues in the selection process for SF-GIPA’s second cohort, which the organization is publicly announcing today. Thanks to funding from \u003ca href=\"https://startsmall.llc/\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Dorsey’s #StartSmall\u003c/a> foundation and a donation from billionaire \u003ca href=\"https://www.nytimes.com/2022/04/10/business/mackenzie-scott-charity.html\" target=\"_blank\" rel=\"noopener noreferrer\">McKenzie Scott\u003c/a>, which supplanted the city’s initial investment with $3.5 million, 60 additional artists began receiving monthly $1,000 payments between October 2021 and February 2022—funding which will continue for a total of 18 months.\u003c/p>\n\u003cp>While the first SF-GIPA cohort was selected through a public application process—the restrictions for which included an income cap and specific zip codes hit hardest by COVID-19—the second cohort was nominated by six partnering organizations, with years of grassroots work in their communities, that YBCA is calling the Creative Communities Coalition for Guaranteed Income.\u003c/p>\n\u003cp>“The organizations that we’re partnered with in this program were organizations that are cultural, spiritual, political leaders and anchors of their communities,” says Stephanie Imah, senior manager of artist investments at YBCA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those organizations include \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería De La Raza\u003c/a> and the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center of San Francisco\u003c/a>, both social justice arts spaces open since the 1970s; \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, the publishing house co-founded by San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> and writer Alie Jones; \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a> and \u003ca href=\"https://www.sfbatco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Bay Area Theatre Company\u003c/a>, both performing arts organizations that center artists of color; and the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender District\u003c/a>, which formed in 2017 and offers career development and housing assistance programs for trans and gender-nonconforming people. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Imah says YBCA let each of the six organizations choose 10 artists based on their own criteria. With so much need among San Francisco artists, YBCA wanted to avoid creating an “oppression Olympics” dynamic where artists must put their trauma on display to compete for funding. “For us working with these partners, it was really trust-based,” Imah says. “It was really leaning on this ethos that you are rooted in your communities, you are the best deciders of what your community needs and you are the closest to the issues.”\u003c/p>\n\u003cfigure id=\"attachment_13915184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35.jpg 1689w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YBCA partnered with six community organizations to nominate 60 additional artists for the San Francisco Guaranteed Income Pilot for Artists. From left to right: Ani Rivera of Galeria de la Raza, Jenny Leung of Chinese Culture Center, Rodney Jackson of SFBATCO (seated), Jiatian Wu of Chinese Culture Center, Ivette Diaz of Galeria de la Raza, Christian Medina Beltz of YBCA, Stella Adelman of Dance Mission Theater, Stephanie Imah of YBCA and Aisa Villarosa of YBCA. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah says YBCA chose the partnering organizations not only for their connections to artists of color and LGBTQ+ artists, but because they’re trusted by people who aren’t the typical audience for a capital-A Art institution like YBCA: immigrants and refugees who aren’t fluent English speakers, sex workers and people who’ve experienced homelessness. Many of the selected artists are involved in community organizing, often without pay. And all of them were hit hard with financial losses during the pandemic.\u003c/p>\n\u003cp>“This went to artists who were the heartbeat of the city, and who give so much to the city,” Imah says.\u003c/p>\n\u003ch2>Giving artists room to flourish\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/improvjav/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Reyes\u003c/a> is a perfect example of the type of artist YBCA wanted to reach. A poet nominated for SF-GIPA through Black Freighter Press, Reyes is a Christian faith leader and youth mentor born and raised in San Francisco. He connected with Black Freighter when he hosted a free writing workshop during the early part of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13915366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Reyes does youth ministry work at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes is used to working 10-hour days. Now, thanks to the Guaranteed Income payments, he can afford to take the summer off from his job at 100% College Prep to focus on building an e-sports lounge for teens at City Life Church in the Bayview. (Reyes says he got a $10,000 grant to pay youth to set up the facility; he’s not making money from it himself.)\u003c/p>\n\u003cp>“I thought it would be a good opportunity to get kids into college to think about the industry of video gaming and entertainment,” Reyes says.\u003c/p>\n\u003cp>Reyes considers himself a bridge-builder between the arts, San Francisco’s Black and Brown youth and the philanthropists who have the ability to fund much-needed community projects. Cultivating those relationships is often unpaid work. But guaranteed income gives him more freedom to focus on that, and the ability to turn down underpaying gigs.\u003c/p>\n\u003cp>“As artists, we just don’t use our money for us. We give back to our community,” Reyes says.\u003c/p>\n\u003cfigure id=\"attachment_13915365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The e-sports lounge in progress at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another SF-GIPA recipient nominated by the Chinese Culture Center, \u003ca href=\"https://www.homeisahotel.com/home/the-team\" target=\"_blank\" rel=\"noopener noreferrer\">Kar Yin Tham\u003c/a>, the guaranteed $1,000 per month allows her to focus on a film project years in the making: the documentary \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Home is a Hotel\u003c/i>\u003c/a>, which she’s co-directing and producing. \u003ci>Home is a Hotel\u003c/i> follows several residents of SROs, or single room occupancy hotels, as they attempt to rebuild their lives after facing incarceration and addiction or arriving to the United States as immigrants.\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/AGMXdl9Rjq0'\n title='//www.youtube.com/embed/AGMXdl9Rjq0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Getting the SF-GIPA funding every month means Tham doesn’t need to take on as many corporate video gigs to make ends meet. “A lot of the commercial work that I had worked on is basically profiling these big companies and whatever products they’re trying to do,” she says. “And what I care about is social justice, what I care about is our communities.”\u003c/p>\n\u003cp>She says guaranteed income is an important way to support projects like \u003ci>Home is a Hotel\u003c/i>, which centers the most vulnerable members of society—the kind of story that typically doesn’t get funded in Hollywood. “A lot of times the investments are made into either an already-famous director or properties they consider to be easy to make profit,” says Tham.\u003c/p>\n\u003cfigure id=\"attachment_13915369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham films b-roll in Chinatown. The San Francisco Guaranteed Income for Artists has allowed her to focus on her documentary about SRO residents, ‘Home is a Hotel.’ \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kinds of stories I’m interested in are not usually what’s considered—how shall we say—‘worthy’ in mainstream media,” she says.\u003c/p>\n\u003cp>Arron Ritschell, a program associate at the Transgender District, observed a similar kind of flourishing in the artists their organization nominated for SF-GIPA. Ritschell says the Transgender District sought out people who were dealing with housing and job instability but didn’t qualify for pandemic unemployment. “We also wanted to prioritize transgender people of color and, specifically, Black transgender artists,” Ritschell says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since the Transgender District’s 10 artists began receiving their $1,000 monthly payments in October, Ritschell and their team have checked in with participants in optional focus groups every few months. One artist shared that they’re using the funds to support a film project. Another was able to afford the tradeoff of taking a lower-paid, entry-level job in order to learn new skills, which they hope will set them up to apply for better paying work in the future. And a third artist used the money to buy video equipment and start a YouTube channel, which helped them build a resumé and get a well-paying job in social media marketing.\u003c/p>\n\u003cp>“That was amazing just to hear that they went from being denied for unemployment and having to rely on sex work and couch surfing,” says Ritschell, noting that they don’t see sex work as a bad thing, but are glad the participants can focus on their art. “Now they’re making the type of income where they’re able to not panic about where the rent money is coming in.”\u003c/p>\n\u003cfigure id=\"attachment_13915211\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/arron-ritschell-headshot-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Arron Ritschell, program associate at the Transgender District, says Guaranteed Income has helped some trans artists out of precarious financial situations. \u003ccite>(Courtesy of Arron Ritschell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>YBCA seeks to rebuild community trust\u003c/h2>\n\u003cp>“There’s a community of us that’s really just supporting each other and rooting for each other,” YBCA’s Imah says. “And I think that is probably one of the most beautiful things, especially when you compound that with gentrification, displacement and inability to fund for your basic needs and seeing individuals in other spaces like tech thriving.”\u003c/p>\n\u003cp>Along with YBCA’s announcement of the Creative Communities Coalition for Guaranteed Income, the organization also published an \u003ca href=\"https://ybca.org/learnings-on-equity-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">accountability statement\u003c/a> that acknowledges previous criticism of how the program was rolled out in May 2021. “We heard from many community leaders, activists, and organizations the ways in which our outreach and engagement efforts for SF-GIPA fell short. Pivotal conversation that followed affirmed that the pilot design process diminished authentic community input and created barriers around the application process most hurtful to BIPOC artists,” the statement reads in part.\u003c/p>\n\u003cp>Imah explained that some of YBCA’s advisors, including some leaders of the six Creative Communities Coalition organizations, were critical of the program’s rollout at first. “Now they’re working with us to build [the second phase] in the way that is truly in line with what they believe should have been done in the first place,” she says. “I think for me, that is a healing. That is a healing and an accountability that is rarely seen as a story of an institution, not only being accountable to themselves, being accountable to the community, and then doing the work to make it right.”\u003c/p>\n\u003cfigure id=\"attachment_13915368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham in Chinatown. \u003ccite>(Alexa Trevino )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah acknowledges that implementing SF-GIPA was an imperfect process. Even though artists have received payments since at least February, it took until now to announce the existence of the second cohort, she says, due to a combination of \u003ca href=\"https://ybca.org/ybca-celebrates-deborah-cullinan/\" target=\"_blank\" rel=\"noopener noreferrer\">leadership changes at YBCA\u003c/a>, a small, stretched-thin SF-GIPA team and changes within the Creative Communities Coalition organizations themselves. Furthermore, the coalition strived for a consensus-based approach, and hit some delays due to COVID illness within the participating group, Imah explains.\u003c/p>\n\u003cp>In a city like San Francisco, there’s far greater need than a pilot like this one could ever satisfy. Imah hopes SF-GIPA will become a permanent solution to fund the arts as the cost of housing and basic needs remains out of reach for many.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is why we need guaranteed income from the city, and on the federal and on the state level,” she says. “This can’t be the burden of small organizations to [put] a Band-Aid on what is a systemic issue.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Pride Celebrates in Defiance of Attacks on Reproductive, Trans Rights",
"headTitle": "SF Pride Celebrates in Defiance of Attacks on Reproductive, Trans Rights | KQED",
"content": "\u003cp>Although it became clear that the Supreme Court would overturn \u003cem>Roe v. Wade\u003c/em> when its draft opinion leaked in May, the advance notice didn’t make it easier to accept when the decision landed. We’ve entered a new, less free reality: Abortion is \u003ca href=\"https://www.washingtonpost.com/politics/2022/06/24/abortion-state-laws-criminalization-roe/\" target=\"_blank\" rel=\"noopener noreferrer\">now banned in 10 states\u003c/a>, and five more will ban it within the month. Furthermore, a section in the Supreme Court’s majority opinion \u003ca href=\"https://www.nytimes.com/2022/06/24/us/clarence-thomas-roe-griswold-lawrence-obergefell.html#:~:text=Justice%20Clarence%20Thomas%2C%20in%20his,overturn%20cases%20establishing%20rights%20to\" target=\"_blank\" rel=\"noopener noreferrer\">prompted fears about the rollback of other civil rights\u003c/a>, including marriage equality.\u003c/p>\n\u003cp>Palpable grief and anger swept the Bay Area on Friday as San Francisco headed into Pride weekend. But LGBTQ+ people didn’t cower in fear—they celebrated in defiance.\u003c/p>\n\u003cfigure id=\"attachment_13915264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the San Francisco Dyke March holds a sign that says, ‘Give us our Voices, Bodies, Rights Back’ on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As thousands of people joined the Trans March at Dolores Park on June 24, the day the ruling came down, a queer and trans drum ensemble kept a steady beat while the crowd chanted, “When our community is under attack, what do we do / Rise up, fight back!” Though \u003ci>Roe\u003c/i> is technically dead, and numerous states are \u003ca href=\"https://www.aclu.org/legislation-affecting-lgbtq-rights-across-country\" target=\"_blank\" rel=\"noopener noreferrer\">legislating against trans healthcare and other rights\u003c/a>, the Trans March didn’t feel like a funeral procession. Instead, it became a ritual transmuting rage into collective power and offering a prayer for the next generation.\u003c/p>\n\u003cp>As the march made its way downtown on Market Street, a girl who looked no older than 10 led a chant of “Hey hey, ho ho, transphobia has got to go.” As the Trans March converged with several abortion rights protests happening at the same time, there was a groundswell of energy as people chanted, “\u003ca href=\"https://twitter.com/nananastia/status/1540519789012996096\" target=\"_blank\" rel=\"noopener noreferrer\">Reproductive and trans rights / One struggle, one fight!\u003c/a>”\u003c/p>\n\u003cfigure id=\"attachment_13915274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915274\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"Drummers amp up protesters during the Trans March.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"A young girl leads a chant at the Trans March.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The march landed on the corner of Turk and Taylor Streets, arguably the birthplace of radical queer resistance in the Bay Area. Here, in 1966, trans women and drag queens rioted against police brutality at the now infamous \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria\u003c/a>—three years before Sylvia Rivera, Marsha P. Johnson and others did the same at the Stonewall Inn in New York City, kicking off the modern-day gay rights movement in 1969.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At Turk and Taylor, DJs played from a sound system aboard a school bus, and speakers included sex workers and socialist organizers. Everywhere you looked were baby pink and baby blue, the trans colors; and black, yellow and purple, the colors of the nonbinary flag. People of different gender expressions, ethnicities, class backgrounds and ages danced together to house music. By simply showing up as themselves, attendees affirmed that there’s no single, correct way to be trans—or any gender identity.\u003c/p>\n\u003cfigure id=\"attachment_13915272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915272\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jupiter Peraza from the Transgender District and Honey Mahogany speak during the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Trans March fill Market Street in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While every few people at the trans march held protest signs, the Dyke March—which also took off from Dolores Park on Saturday, June 25—mostly made a political statement by way of joy, and making people feel seen and heard.\u003c/p>\n\u003cp>“Being together helps us heal,” an attendee told me as the march made its way back from the Castro. The women of the Dyke March cheered and waved to the people partying on their porches and playing disco in their front yards. After the march ended, everyone dispersed into Dolores Park, where hundreds of LGBTQ+ friend groups picnicked, drank and danced.\u003c/p>\n\u003cfigure id=\"attachment_13915261\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915261\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the San Francisco Dyke March make their way through the Mission District on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915268\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Dyke March fills Castro Street on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915267\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915267\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Poulos rides her Harley with Emily Burton on the back during the San Francisco Dyke March on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the big SF Pride parade on Sunday, June 26, social justice messages bubbled up amid the corporate-sponsored floats, politicians in convertibles, and typical characters like nudists and furries. Although the Pride organization \u003ca href=\"https://www.kqed.org/news/11917710/sfpd-officers-to-march-in-pride-amid-complicated-feelings-uniform-compromise\" target=\"_blank\" rel=\"noopener noreferrer\">agreed to have uniformed police officers march\u003c/a> (after initially banning them from the parade due to the history of police abuse against LGTBQ+ people), people marching alongside the San Francisco Public Defender’s office carried signs with abolitionist slogans. And DJ Black, one of the community Grand Marshals—or as she calls it, Grand Marshas—pulled up in a truck with signs like “Abort the Court” and “Housing for All.” [aside postid='arts_13912860']\u003c/p>\n\u003cp>At the celebration at Civic Center afterwards, San Francisco singer La Doña led the crowd in a chant of “fuck the court,” and the audience happily obliged while dancing to cumbia, hyphy and salsa music.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s a long fight ahead for those who believe in gender equality, bodily autonomy and reproductive rights. Pride provided a much-needed collective exhale, a gathering of strength through fun and community, as this new battle begins.\u003c/p>\n\u003cfigure id=\"attachment_13915265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Dyke March makes its way through the Mission to the Castro District on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt='A woman holds a protest sign that reads \"Separation of church and state.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March merged with an abortion rights rally in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Righteously Outrageous Twiring Corps perform during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915266\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Sopko waves from a window as the San Francisco Dyke March passes by on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag queens Nicki Jizz, Heaven on Earth and Snaxx dance on the Oasis SF float during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants fill Market Street during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915254\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kai’lee Luckey (left) and Kaleonna Vang, both visiting from Sacramento, watch the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spectators line Market Street while cheering on participants at the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915283\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the University of California, Berkeley contingent cheer during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915284\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of samba dancers and drummers participate in the Pride Parade on Market Street in San Francisco on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Though the Supreme Court's ruling prompted grief and anger, Pride weekend sent a message of solidarity.",
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"description": "Though the Supreme Court's ruling prompted grief and anger, Pride weekend sent a message of solidarity.",
"title": "SF Pride Celebrates in Defiance of Attacks on Reproductive, Trans Rights | KQED",
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"headline": "SF Pride Celebrates in Defiance of Attacks on Reproductive, Trans Rights",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although it became clear that the Supreme Court would overturn \u003cem>Roe v. Wade\u003c/em> when its draft opinion leaked in May, the advance notice didn’t make it easier to accept when the decision landed. We’ve entered a new, less free reality: Abortion is \u003ca href=\"https://www.washingtonpost.com/politics/2022/06/24/abortion-state-laws-criminalization-roe/\" target=\"_blank\" rel=\"noopener noreferrer\">now banned in 10 states\u003c/a>, and five more will ban it within the month. Furthermore, a section in the Supreme Court’s majority opinion \u003ca href=\"https://www.nytimes.com/2022/06/24/us/clarence-thomas-roe-griswold-lawrence-obergefell.html#:~:text=Justice%20Clarence%20Thomas%2C%20in%20his,overturn%20cases%20establishing%20rights%20to\" target=\"_blank\" rel=\"noopener noreferrer\">prompted fears about the rollback of other civil rights\u003c/a>, including marriage equality.\u003c/p>\n\u003cp>Palpable grief and anger swept the Bay Area on Friday as San Francisco headed into Pride weekend. But LGBTQ+ people didn’t cower in fear—they celebrated in defiance.\u003c/p>\n\u003cfigure id=\"attachment_13915264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56895_013_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the San Francisco Dyke March holds a sign that says, ‘Give us our Voices, Bodies, Rights Back’ on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56916_013_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As thousands of people joined the Trans March at Dolores Park on June 24, the day the ruling came down, a queer and trans drum ensemble kept a steady beat while the crowd chanted, “When our community is under attack, what do we do / Rise up, fight back!” Though \u003ci>Roe\u003c/i> is technically dead, and numerous states are \u003ca href=\"https://www.aclu.org/legislation-affecting-lgbtq-rights-across-country\" target=\"_blank\" rel=\"noopener noreferrer\">legislating against trans healthcare and other rights\u003c/a>, the Trans March didn’t feel like a funeral procession. Instead, it became a ritual transmuting rage into collective power and offering a prayer for the next generation.\u003c/p>\n\u003cp>As the march made its way downtown on Market Street, a girl who looked no older than 10 led a chant of “Hey hey, ho ho, transphobia has got to go.” As the Trans March converged with several abortion rights protests happening at the same time, there was a groundswell of energy as people chanted, “\u003ca href=\"https://twitter.com/nananastia/status/1540519789012996096\" target=\"_blank\" rel=\"noopener noreferrer\">Reproductive and trans rights / One struggle, one fight!\u003c/a>”\u003c/p>\n\u003cfigure id=\"attachment_13915274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915274\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"Drummers amp up protesters during the Trans March.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56913_009_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"A young girl leads a chant at the Trans March.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56912_008_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The march landed on the corner of Turk and Taylor Streets, arguably the birthplace of radical queer resistance in the Bay Area. Here, in 1966, trans women and drag queens rioted against police brutality at the now infamous \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria\u003c/a>—three years before Sylvia Rivera, Marsha P. Johnson and others did the same at the Stonewall Inn in New York City, kicking off the modern-day gay rights movement in 1969.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At Turk and Taylor, DJs played from a sound system aboard a school bus, and speakers included sex workers and socialist organizers. Everywhere you looked were baby pink and baby blue, the trans colors; and black, yellow and purple, the colors of the nonbinary flag. People of different gender expressions, ethnicities, class backgrounds and ages danced together to house music. By simply showing up as themselves, attendees affirmed that there’s no single, correct way to be trans—or any gender identity.\u003c/p>\n\u003cfigure id=\"attachment_13915272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915272\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56908_005_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jupiter Peraza from the Transgender District and Honey Mahogany speak during the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56905_001_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Trans March fill Market Street in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While every few people at the trans march held protest signs, the Dyke March—which also took off from Dolores Park on Saturday, June 25—mostly made a political statement by way of joy, and making people feel seen and heard.\u003c/p>\n\u003cp>“Being together helps us heal,” an attendee told me as the march made its way back from the Castro. The women of the Dyke March cheered and waved to the people partying on their porches and playing disco in their front yards. After the march ended, everyone dispersed into Dolores Park, where hundreds of LGBTQ+ friend groups picnicked, drank and danced.\u003c/p>\n\u003cfigure id=\"attachment_13915261\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915261\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56886_001_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the San Francisco Dyke March make their way through the Mission District on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915268\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56904_017_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Dyke March fills Castro Street on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915267\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915267\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56902_018_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Poulos rides her Harley with Emily Burton on the back during the San Francisco Dyke March on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the big SF Pride parade on Sunday, June 26, social justice messages bubbled up amid the corporate-sponsored floats, politicians in convertibles, and typical characters like nudists and furries. Although the Pride organization \u003ca href=\"https://www.kqed.org/news/11917710/sfpd-officers-to-march-in-pride-amid-complicated-feelings-uniform-compromise\" target=\"_blank\" rel=\"noopener noreferrer\">agreed to have uniformed police officers march\u003c/a> (after initially banning them from the parade due to the history of police abuse against LGTBQ+ people), people marching alongside the San Francisco Public Defender’s office carried signs with abolitionist slogans. And DJ Black, one of the community Grand Marshals—or as she calls it, Grand Marshas—pulled up in a truck with signs like “Abort the Court” and “Housing for All.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the celebration at Civic Center afterwards, San Francisco singer La Doña led the crowd in a chant of “fuck the court,” and the audience happily obliged while dancing to cumbia, hyphy and salsa music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a long fight ahead for those who believe in gender equality, bodily autonomy and reproductive rights. Pride provided a much-needed collective exhale, a gathering of strength through fun and community, as this new battle begins.\u003c/p>\n\u003cfigure id=\"attachment_13915265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56897_011_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Dyke March makes its way through the Mission to the Castro District on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-800x533.jpg\" alt='A woman holds a protest sign that reads \"Separation of church and state.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56928_021_KQED_SFTransMarch_06242022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March merged with an abortion rights rally in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56881_014_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Righteously Outrageous Twiring Corps perform during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915266\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56898_012_KQED_SFDykeMarch_06252022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Sopko waves from a window as the San Francisco Dyke March passes by on June 25, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56883_017_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag queens Nicki Jizz, Heaven on Earth and Snaxx dance on the Oasis SF float during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56877_013_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants fill Market Street during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915254\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56872_002_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kai’lee Luckey (left) and Kaleonna Vang, both visiting from Sacramento, watch the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56876_010_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spectators line Market Street while cheering on participants at the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915283\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56878_008_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the University of California, Berkeley contingent cheer during the San Francisco Pride Parade on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915284\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56879_012_KQED_SFPrideParade_06262022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of samba dancers and drummers participate in the Pride Parade on Market Street in San Francisco on June 26, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "As Roe Falls, Criminal Defense Lawyers Sound the Alarm About Mass Incarceration",
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"content": "\u003cp>Picture a court of law, jury in place, set to determine the fate of a woman who has had a miscarriage. And she’s been charged with murder.\u003c/p>\n\u003cp>This hypothetical is part of how the National Association of Criminal Defense Lawyers (NACDL) is training its members to prepare for a possible wave of criminal charges as the Supreme Court overturns Roe v. Wade.\u003c/p>\n\u003cp>Only it’s not a hypothetical—this \u003ca href=\"https://www.theguardian.com/us-news/2022/jun/03/california-stillborn-prosecution-roe-v-wade\" target=\"_blank\" rel=\"noopener noreferrer\">happened\u003c/a> in 2019. After a California woman delivered a stillborn baby at 8 months, she tested positive for meth at the hospital and the staff called the police. The Kings County prosecutor charged her with the “murder of a human fetus” and she spent 16 months in jail before the charges were dismissed.\u003c/p>\n\u003cp>NACDL executive director Lisa Wayne watched the case with concern. She and her colleagues decided they needed to be proactive and start getting ready for what they felt was inevitable.\u003c/p>\n\u003cp>“Although, I don’t think you can ever say you’ll be totally prepared for this kind of watershed moment,” Wayne said.\u003c/p>\n\u003ch3>‘Overcriminalization’\u003c/h3>\n\u003cp>The NACDL published \u003ca href=\"https://www.nacdl.org/Document/AbortioninAmericaLegOverreachCriminalizReproRights\" target=\"_blank\" rel=\"noopener noreferrer\">a report\u003c/a> last August warning the public that, without the legal protections under Roe v. Wade, thousands of abortion laws could lead to a new chapter of mass incarceration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The invasion of privacy alone is a big concern to the NACDL. Anyone who needs or wants an abortion outside of the legal limits of their state is not only a target for criminal charges, but risks implicating others, too—by confiding in friends or family, crossing state lines for procedures, or even using a transportation app to get to an appointment.\u003c/p>\n\u003cp>“Not just fines. We’re talking about prison time,” Wayne said. “We’re talking about minimum mandatory sentences—aiding or abetting someone who gets ultimately charged with manslaughter or murder, which is a life sentence.”\u003c/p>\n\u003cp>And for those who think a future of mass incarceration is too unlikely, Wayne points to the \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=9252490\" target=\"_blank\" rel=\"noopener noreferrer\">War on Drugs\u003c/a>, starting in 1971.\u003c/p>\n\u003cp>“Suddenly people who were being prosecuted for small amounts of drugs were now involved in larger and greater conspiracies with minimum mandatory sentences,” Wayne said. “People were looking at life sentences and still remain incarcerated to this day. You have to ask yourself, what lessons did we really learn?”\u003c/p>\n\u003ch3>Who will actually pay the price?\u003c/h3>\n\u003cp>The NACDL has tens of thousands of members. Actual feelings and opinions on abortion vary within the organization, as expected. But that’s not what this collective red alert is about.\u003c/p>\n\u003cp>[aside postID='arts_13912860,arts_11916720,news_11917541,news_11917111']Wayne says that despite a range of personal views, the membership as a whole is concerned about invasion of privacy, government overreach, and a massive stretch on legal resources if a wave of abortion-related criminal charges hits the U.S.\u003c/p>\n\u003cp>And that pain won’t be distributed equally.\u003c/p>\n\u003cp>“Whenever you’re talking about overcriminalization, you’re talking about money,” Wayne said. “Rich people will always be able to lawyer up. They will always have access to attorneys. Poor people will be left behind.”\u003c/p>\n\u003cp>She points to an already overwhelmed public defender system, which people can’t access until after their legal troubles have started.\u003c/p>\n\u003cp>“I don’t get a lawyer, if I’m poor, until I’m actually charged with a crime in this country in most jurisdictions,” she said. “So I have to wait until that moment until I get charged. If I have money, access to counsel, I get advice on the front end of being able to perhaps avoid the consequences that I would face if I didn’t have money.”\u003c/p>\n\u003ch3>The perfect victim\u003c/h3>\n\u003cp>A future without Roe v. Wade ultimately leads back to that courtroom and jury, where the task at hand becomes navigating perception. The burden of being “the perfect victim” is nothing new when it comes to cases of \u003ca href=\"https://www.newyorker.com/news/our-local-correspondents/the-weinstein-trial-and-the-myth-of-the-perfect-victim\" target=\"_blank\" rel=\"noopener noreferrer\">harassment\u003c/a>, \u003ca href=\"https://www.elle.com.au/culture/perfect-victim-sexual-assault-dangers-26952\" target=\"_blank\" rel=\"noopener noreferrer\">sexual assault\u003c/a> and \u003ca href=\"https://time.com/6183505/amber-heard-perfect-victim-myth-johnny-depp/\" target=\"_blank\" rel=\"noopener noreferrer\">domestic violence\u003c/a>.\u003c/p>\n\u003cp>“To be a perfect victim of sexual assault, human trafficking or intimate partner violence, you cannot also struggle with addiction, poverty or mental illness,” wrote Amanda Rodriguez, a former federal prosecutor and the executive director of Baltimore’s rape crisis center, TurnAround Inc, in a \u003ca href=\"https://www.baltimoresun.com/opinion/op-ed/bs-ed-op-0505-assault-victim-myth-20210504-yflhw5jh3zffddxbuwjqm664me-story.html\">2021 op-ed\u003c/a> for the \u003cem>Baltimore Sun\u003c/em>. “To be a perfect victim, you cannot accept a drink, engage in commercial sex or walk alone at night. You cannot wear tight clothes or have a criminal record. You cannot be human.”\u003c/p>\n\u003cp>Except with a criminalized abortion, the “victim” isn’t pressing charges. They’re fighting them.\u003c/p>\n\u003cp>“At the end of the day, it’s going to be the bias going into the courtroom,” Wayne said. “The bias dealing with the district attorney who has preconceived notions of their own about how these cases should be prosecuted, the judges who oversee these cases and how they feel—and then ultimately go to the jurors’ bias.”\u003c/p>\n\u003cp>And that’s a main focus of NACDL’s training at the moment: preparing to help clients who have been charged with abortion-related crimes look sympathetic and relatable to a group of their peers (wherein the degree of difficulty varies, \u003ca href=\"https://www.npr.org/2014/12/27/372916940/getting-tried-by-a-jury-of-your-peers-isn-t-as-simple-as-it-sounds\" target=\"_blank\" rel=\"noopener noreferrer\">depending on your race\u003c/a>.)\u003c/p>\n\u003cp>But in some cases, that might not be enough. More than a dozen states have trigger laws that immediately went into effect after Roe was lifted. The Supreme Court has just granted state lawmakers the freedom to ban abortion however they want.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So when a jury is asked to determine whether someone broke a law post-Roe, even a “perfect victim” might still be a guilty one.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Roe+falls%2C+criminal+defense+lawyers+sound+the+alarm+about+mass+incarceration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture a court of law, jury in place, set to determine the fate of a woman who has had a miscarriage. And she’s been charged with murder.\u003c/p>\n\u003cp>This hypothetical is part of how the National Association of Criminal Defense Lawyers (NACDL) is training its members to prepare for a possible wave of criminal charges as the Supreme Court overturns Roe v. Wade.\u003c/p>\n\u003cp>Only it’s not a hypothetical—this \u003ca href=\"https://www.theguardian.com/us-news/2022/jun/03/california-stillborn-prosecution-roe-v-wade\" target=\"_blank\" rel=\"noopener noreferrer\">happened\u003c/a> in 2019. After a California woman delivered a stillborn baby at 8 months, she tested positive for meth at the hospital and the staff called the police. The Kings County prosecutor charged her with the “murder of a human fetus” and she spent 16 months in jail before the charges were dismissed.\u003c/p>\n\u003cp>NACDL executive director Lisa Wayne watched the case with concern. She and her colleagues decided they needed to be proactive and start getting ready for what they felt was inevitable.\u003c/p>\n\u003cp>“Although, I don’t think you can ever say you’ll be totally prepared for this kind of watershed moment,” Wayne said.\u003c/p>\n\u003ch3>‘Overcriminalization’\u003c/h3>\n\u003cp>The NACDL published \u003ca href=\"https://www.nacdl.org/Document/AbortioninAmericaLegOverreachCriminalizReproRights\" target=\"_blank\" rel=\"noopener noreferrer\">a report\u003c/a> last August warning the public that, without the legal protections under Roe v. Wade, thousands of abortion laws could lead to a new chapter of mass incarceration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The invasion of privacy alone is a big concern to the NACDL. Anyone who needs or wants an abortion outside of the legal limits of their state is not only a target for criminal charges, but risks implicating others, too—by confiding in friends or family, crossing state lines for procedures, or even using a transportation app to get to an appointment.\u003c/p>\n\u003cp>“Not just fines. We’re talking about prison time,” Wayne said. “We’re talking about minimum mandatory sentences—aiding or abetting someone who gets ultimately charged with manslaughter or murder, which is a life sentence.”\u003c/p>\n\u003cp>And for those who think a future of mass incarceration is too unlikely, Wayne points to the \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=9252490\" target=\"_blank\" rel=\"noopener noreferrer\">War on Drugs\u003c/a>, starting in 1971.\u003c/p>\n\u003cp>“Suddenly people who were being prosecuted for small amounts of drugs were now involved in larger and greater conspiracies with minimum mandatory sentences,” Wayne said. “People were looking at life sentences and still remain incarcerated to this day. You have to ask yourself, what lessons did we really learn?”\u003c/p>\n\u003ch3>Who will actually pay the price?\u003c/h3>\n\u003cp>The NACDL has tens of thousands of members. Actual feelings and opinions on abortion vary within the organization, as expected. But that’s not what this collective red alert is about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wayne says that despite a range of personal views, the membership as a whole is concerned about invasion of privacy, government overreach, and a massive stretch on legal resources if a wave of abortion-related criminal charges hits the U.S.\u003c/p>\n\u003cp>And that pain won’t be distributed equally.\u003c/p>\n\u003cp>“Whenever you’re talking about overcriminalization, you’re talking about money,” Wayne said. “Rich people will always be able to lawyer up. They will always have access to attorneys. Poor people will be left behind.”\u003c/p>\n\u003cp>She points to an already overwhelmed public defender system, which people can’t access until after their legal troubles have started.\u003c/p>\n\u003cp>“I don’t get a lawyer, if I’m poor, until I’m actually charged with a crime in this country in most jurisdictions,” she said. “So I have to wait until that moment until I get charged. If I have money, access to counsel, I get advice on the front end of being able to perhaps avoid the consequences that I would face if I didn’t have money.”\u003c/p>\n\u003ch3>The perfect victim\u003c/h3>\n\u003cp>A future without Roe v. Wade ultimately leads back to that courtroom and jury, where the task at hand becomes navigating perception. The burden of being “the perfect victim” is nothing new when it comes to cases of \u003ca href=\"https://www.newyorker.com/news/our-local-correspondents/the-weinstein-trial-and-the-myth-of-the-perfect-victim\" target=\"_blank\" rel=\"noopener noreferrer\">harassment\u003c/a>, \u003ca href=\"https://www.elle.com.au/culture/perfect-victim-sexual-assault-dangers-26952\" target=\"_blank\" rel=\"noopener noreferrer\">sexual assault\u003c/a> and \u003ca href=\"https://time.com/6183505/amber-heard-perfect-victim-myth-johnny-depp/\" target=\"_blank\" rel=\"noopener noreferrer\">domestic violence\u003c/a>.\u003c/p>\n\u003cp>“To be a perfect victim of sexual assault, human trafficking or intimate partner violence, you cannot also struggle with addiction, poverty or mental illness,” wrote Amanda Rodriguez, a former federal prosecutor and the executive director of Baltimore’s rape crisis center, TurnAround Inc, in a \u003ca href=\"https://www.baltimoresun.com/opinion/op-ed/bs-ed-op-0505-assault-victim-myth-20210504-yflhw5jh3zffddxbuwjqm664me-story.html\">2021 op-ed\u003c/a> for the \u003cem>Baltimore Sun\u003c/em>. “To be a perfect victim, you cannot accept a drink, engage in commercial sex or walk alone at night. You cannot wear tight clothes or have a criminal record. You cannot be human.”\u003c/p>\n\u003cp>Except with a criminalized abortion, the “victim” isn’t pressing charges. They’re fighting them.\u003c/p>\n\u003cp>“At the end of the day, it’s going to be the bias going into the courtroom,” Wayne said. “The bias dealing with the district attorney who has preconceived notions of their own about how these cases should be prosecuted, the judges who oversee these cases and how they feel—and then ultimately go to the jurors’ bias.”\u003c/p>\n\u003cp>And that’s a main focus of NACDL’s training at the moment: preparing to help clients who have been charged with abortion-related crimes look sympathetic and relatable to a group of their peers (wherein the degree of difficulty varies, \u003ca href=\"https://www.npr.org/2014/12/27/372916940/getting-tried-by-a-jury-of-your-peers-isn-t-as-simple-as-it-sounds\" target=\"_blank\" rel=\"noopener noreferrer\">depending on your race\u003c/a>.)\u003c/p>\n\u003cp>But in some cases, that might not be enough. More than a dozen states have trigger laws that immediately went into effect after Roe was lifted. The Supreme Court has just granted state lawmakers the freedom to ban abortion however they want.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So when a jury is asked to determine whether someone broke a law post-Roe, even a “perfect victim” might still be a guilty one.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Roe+falls%2C+criminal+defense+lawyers+sound+the+alarm+about+mass+incarceration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The actor Ray Liotta has died. According to his publicist, Jennifer Allen, Liotta was in the Dominican Republic shooting the movie \u003cem>Dangerous Waters, \u003c/em>when he died in his sleep. He was 67 years old.\u003c/p>\n\u003cp>The actor is perhaps best known for his role as Henry Hill in the 1990 Martin Scorsese movie \u003cem>Goodfellas, \u003c/em>where he helped shape the idea of a gangster movie for years to come. The movie was based on the non-fiction book \u003cem>Wise Guy\u003c/em> by Nicholas Pileggi. To prepare for the role, Liotta told WHYY’s \u003cem>Fresh Air \u003c/em>that he sat in his mother’s car and listened to hours and hours of tape of Hill being interviewed.\u003c/p>\n\u003cp>“And the biggest thing that I learned from it was just how casual they were—how casual Henry was about what happened,” said Liotta. “It was just like he was telling a story of what his kids were doing and how they played in a park, except they were talking about, you know, people getting killed or beaten.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2ilzidi_J8Q\u003c/p>\n\u003cp>Liotta’s acting career spanned four decades and a variety of mediums. He won an Emmy for a guest stint on the television drama \u003cem>ER\u003c/em>. He starred in the hit game \u003cem>Grand Theft Auto: Vice City\u003c/em>. And he spent years on the police show \u003cem>Shades of Blue.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Liotta is survived by one daughter, and was \u003ca href=\"https://www.instagram.com/p/CJXUuRolkPA/\" target=\"_blank\" rel=\"noopener noreferrer\">recently engaged \u003c/a>to Jacy Nittolo.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Goodfellas%27+star+Ray+Liotta+dead+at+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The actor Ray Liotta has died. According to his publicist, Jennifer Allen, Liotta was in the Dominican Republic shooting the movie \u003cem>Dangerous Waters, \u003c/em>when he died in his sleep. He was 67 years old.\u003c/p>\n\u003cp>The actor is perhaps best known for his role as Henry Hill in the 1990 Martin Scorsese movie \u003cem>Goodfellas, \u003c/em>where he helped shape the idea of a gangster movie for years to come. The movie was based on the non-fiction book \u003cem>Wise Guy\u003c/em> by Nicholas Pileggi. To prepare for the role, Liotta told WHYY’s \u003cem>Fresh Air \u003c/em>that he sat in his mother’s car and listened to hours and hours of tape of Hill being interviewed.\u003c/p>\n\u003cp>“And the biggest thing that I learned from it was just how casual they were—how casual Henry was about what happened,” said Liotta. “It was just like he was telling a story of what his kids were doing and how they played in a park, except they were talking about, you know, people getting killed or beaten.”\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/2ilzidi_J8Q'\n title='//www.youtube.com/embed/2ilzidi_J8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Liotta’s acting career spanned four decades and a variety of mediums. He won an Emmy for a guest stint on the television drama \u003cem>ER\u003c/em>. He starred in the hit game \u003cem>Grand Theft Auto: Vice City\u003c/em>. And he spent years on the police show \u003cem>Shades of Blue.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How to Help Uvalde Families Following the Texas Elementary School Shooting",
"headTitle": "How to Help Uvalde Families Following the Texas Elementary School Shooting | KQED",
"content": "\u003cp>\u003cstrong>Updated May 25, 2022 at 2:50 PM ET.\u003c/strong>\u003c/p>\n\u003cp>Uvalde, Texas, is reeling from the \u003ca href=\"https://www.npr.org/2022/05/24/1101037902/texas-elementary-school-shooting-uvalde\" target=\"_blank\" rel=\"noopener noreferrer\">second-deadliest school shooting\u003c/a> in U.S. history after a gunman killed at least 19 children and two adults at Robb Elementary School on Tuesday.\u003c/p>\n\u003cp>Many family members—some of whom \u003ca href=\"https://www.businessinsider.com/families-texas-school-shooting-give-dna-swabs-help-identify-victims-2022-5\" target=\"_blank\" rel=\"noopener noreferrer\">gave DNA swabs\u003c/a> to help investigators identify victims—waited for hours for news of their loved ones.\u003c/p>\n\u003cp>Onlookers in and beyond Texas may be wondering what support they can offer. The community is looking for blood donations, legal assistance and funds for victims’ families. Read on to learn how you can help.\u003c/p>\n\u003ch3>Donate blood in the days and weeks ahead\u003c/h3>\n\u003cp>University Health System—the \u003ca href=\"https://www.npr.org/live-updates/texas-school-shooting-2022-05-24#blood-drives-have-been-set-up-across-uvalde-for-shooting-victims\" target=\"_blank\" rel=\"noopener noreferrer\">largest transfuser of blood\u003c/a> in the San Antonio area—is encouraging community members to donate blood to hospitals and centers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Your donation can help ensure we have supplies immediately available for the victims of this tragic shooting,” \u003ca href=\"https://twitter.com/UnivHealthSA/status/1529218935803023360?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">it tweeted\u003c/a>. Many of its online appointments are booked through the end of the month.\u003c/p>\n\u003cp>[aside postid='news_11764070']South Texas Blood & Tissue \u003ca href=\"https://biobridgeglobal.org/community/our-thoughts-right-now-are-with-the-community-of-uvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">said on Tuesday\u003c/a> that thanks to donors, it was able to send 15 units of blood to the school and local hospitals immediately after the shooting, and another 10 to an area hospital later in the day upon request.\u003c/p>\n\u003cp>“We will continue to work with hospitals in the area to make blood available as it’s needed and to rebuild their supply for other patients in need,” the organization said.\u003c/p>\n\u003cp>The blood center is holding an \u003ca href=\"https://donor.southtexasblood.org/donor/schedules/drive_schedule/136932\" target=\"_blank\" rel=\"noopener noreferrer\">emergency blood drive\u003c/a> in Uvalde on today, which it said has already filled up with appointments. It \u003ca href=\"https://twitter.com/connectforlife/status/1529260646117916672?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">later tweeted\u003c/a> that donors were experiencing a 2-hour wait time and that all of its appointments were booked through Saturday. But the center stressed that help would still be needed after beyond that point, added slots to its \u003ca href=\"https://biobridgeglobal.org/events/list/?tribe_eventcategory%5B0%5D=468&skin=donors\" target=\"_blank\" rel=\"noopener noreferrer\">Memorial Day blood drive\u003c/a> and encouraged people to \u003ca href=\"https://biobridgeglobal.org/donors/\" target=\"_blank\" rel=\"noopener noreferrer\">schedule (and keep) appointments\u003c/a> for the following week.\u003c/p>\n\u003cp>“This tragedy highlights the importance of always having blood available on the shelf and before it’s needed,” the center said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.redcrossblood.org/faq.html\" target=\"_blank\" rel=\"noopener noreferrer\">Learn more about the blood donation process.\u003c/a>\u003c/p>\n\u003ch3>Support verified fundraisers\u003c/h3>\n\u003cp>GoFundMe has established an online hub of verified fundraisers supporting victims and loved ones affected by the shooting, which \u003ca href=\"https://www.gofundme.com/c/act/donate-to-texas-elementary-school-shooting-relief\" target=\"_blank\" rel=\"noopener noreferrer\">you can find here\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13881725']Those include \u003ca href=\"https://www.gofundme.com/f/mtdrdc-texas-elementary-school-shooting-victims-fund\" target=\"_blank\" rel=\"noopener noreferrer\">a fundraiser organized by VictimsFirst\u003c/a> (a network of survivors and relatives affected by previous mass shootings) to provide victims’ family members with no-strings-attached cash payments.\u003c/p>\n\u003cp>The group said it started the fund “to make sure that 100% of what is collected goes DIRECTLY to the victim base so the victims’ families and those wounded/injured are protected from fraud and exploitation.”\u003c/p>\n\u003cp>As of Wednesday morning, all three verified fundraisers—the VictimsFirst fund, a campaign raising money for funeral expenses for the \u003ca href=\"https://www.gofundme.com/f/please-help-us-put-our-newly-angel-to-rest\" target=\"_blank\" rel=\"noopener noreferrer\">family of Xavier Lopez\u003c/a> and a fundraiser by Austin-based \u003ca href=\"https://www.gofundme.com/f/robb-elementary-school-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">Los Verdes Supporter Group\u003c/a>—had exceeded their financial goals.\u003c/p>\n\u003cp>Two funeral homes in the area, \u003ca href=\"https://www.facebook.com/RushEstesKnowMortUvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">Rushing-Estes Mortuary Uvalde\u003c/a> and \u003ca href=\"https://www.facebook.com/hillcrestfh/photos/a.317618715397540/1334905853668816/\" target=\"_blank\" rel=\"noopener noreferrer\">Hillcrest Memorial Funeral Home\u003c/a>, said in social media posts that they would offer their services to families for free.\u003c/p>\n\u003ch3>More places to donate\u003c/h3>\n\u003cp>The \u003ca href=\"https://www.ucisd.net/\" target=\"_blank\" rel=\"noopener noreferrer\">school district\u003c/a> in Uvalde has opened \u003ca href=\"https://twitter.com/Uvalde_CISD/status/1529515364152901633?s=20&t=RJqsE_eeWdJcG6v1MH5uzw\" target=\"_blank\" rel=\"noopener noreferrer\">an official account\u003c/a> with \u003ca href=\"https://www.fsbuvalde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">First State Bank of Uvalde\u003c/a> to support Robb Elementary families affected by the tragedy. People can send checks through the mail (payable to the “Robb School Memorial Fund”) or donate money through Zelle to robbschoolmemorialfund@gmail.com\u003c/p>\n\u003cp>Other institutions and organizations are also raising money for the community.\u003c/p>\n\u003cp>[aside postid='mindshift_59143']People can donate directly to a \u003ca href=\"https://www.universityhealthsystem.com/ways-to-give/donate-to-a-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Uvalde Victims Relief Fund created\u003c/a> by University Health, for example.\u003c/p>\n\u003cp>The League of United Latin American Citizens (LULAC) has created \u003ca href=\"https://lulac.org/uvaldefund/\" target=\"_blank\" rel=\"noopener noreferrer\">a fund for victims and survivors\u003c/a>, and says 100% of contributions will go directly to their families.\u003c/p>\n\u003cp>“Where 90 percent of the students of Robb Elementary School identify as Hispanics and more than four-fifths are economically disadvantaged, this community NEEDS our collective prayers, help, and support,” the group wrote.\u003c/p>\n\u003ch3>The community is seeking volunteer legal services\u003c/h3>\n\u003cp>The San Antonio Legal Services Association is seeking volunteer attorneys who are licensed to practice in the state of Texas, according to \u003ca href=\"https://www.facebook.com/SALSASanAntonio/posts/550018863333129\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a>.\u003c/p>\n\u003cp>“Volunteer NOW to assist Uvalde Shooting Victims and Families with Unmet Legal Needs,” it wrote. “SALSA will respond with pro bono assistance as called upon to do so by community partners and civil leaders over the coming weeks.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The organization is asking qualified attorneys to email them with their area of practice and availability through the month of June.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+to+help+Uvalde+families+following+yesterday%27s+elementary+school+shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"nprPubDate": "Wed, 25 May 2022 15:43:00 -0400",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated May 25, 2022 at 2:50 PM ET.\u003c/strong>\u003c/p>\n\u003cp>Uvalde, Texas, is reeling from the \u003ca href=\"https://www.npr.org/2022/05/24/1101037902/texas-elementary-school-shooting-uvalde\" target=\"_blank\" rel=\"noopener noreferrer\">second-deadliest school shooting\u003c/a> in U.S. history after a gunman killed at least 19 children and two adults at Robb Elementary School on Tuesday.\u003c/p>\n\u003cp>Many family members—some of whom \u003ca href=\"https://www.businessinsider.com/families-texas-school-shooting-give-dna-swabs-help-identify-victims-2022-5\" target=\"_blank\" rel=\"noopener noreferrer\">gave DNA swabs\u003c/a> to help investigators identify victims—waited for hours for news of their loved ones.\u003c/p>\n\u003cp>Onlookers in and beyond Texas may be wondering what support they can offer. The community is looking for blood donations, legal assistance and funds for victims’ families. Read on to learn how you can help.\u003c/p>\n\u003ch3>Donate blood in the days and weeks ahead\u003c/h3>\n\u003cp>University Health System—the \u003ca href=\"https://www.npr.org/live-updates/texas-school-shooting-2022-05-24#blood-drives-have-been-set-up-across-uvalde-for-shooting-victims\" target=\"_blank\" rel=\"noopener noreferrer\">largest transfuser of blood\u003c/a> in the San Antonio area—is encouraging community members to donate blood to hospitals and centers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Your donation can help ensure we have supplies immediately available for the victims of this tragic shooting,” \u003ca href=\"https://twitter.com/UnivHealthSA/status/1529218935803023360?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">it tweeted\u003c/a>. Many of its online appointments are booked through the end of the month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>South Texas Blood & Tissue \u003ca href=\"https://biobridgeglobal.org/community/our-thoughts-right-now-are-with-the-community-of-uvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">said on Tuesday\u003c/a> that thanks to donors, it was able to send 15 units of blood to the school and local hospitals immediately after the shooting, and another 10 to an area hospital later in the day upon request.\u003c/p>\n\u003cp>“We will continue to work with hospitals in the area to make blood available as it’s needed and to rebuild their supply for other patients in need,” the organization said.\u003c/p>\n\u003cp>The blood center is holding an \u003ca href=\"https://donor.southtexasblood.org/donor/schedules/drive_schedule/136932\" target=\"_blank\" rel=\"noopener noreferrer\">emergency blood drive\u003c/a> in Uvalde on today, which it said has already filled up with appointments. It \u003ca href=\"https://twitter.com/connectforlife/status/1529260646117916672?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">later tweeted\u003c/a> that donors were experiencing a 2-hour wait time and that all of its appointments were booked through Saturday. But the center stressed that help would still be needed after beyond that point, added slots to its \u003ca href=\"https://biobridgeglobal.org/events/list/?tribe_eventcategory%5B0%5D=468&skin=donors\" target=\"_blank\" rel=\"noopener noreferrer\">Memorial Day blood drive\u003c/a> and encouraged people to \u003ca href=\"https://biobridgeglobal.org/donors/\" target=\"_blank\" rel=\"noopener noreferrer\">schedule (and keep) appointments\u003c/a> for the following week.\u003c/p>\n\u003cp>“This tragedy highlights the importance of always having blood available on the shelf and before it’s needed,” the center said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.redcrossblood.org/faq.html\" target=\"_blank\" rel=\"noopener noreferrer\">Learn more about the blood donation process.\u003c/a>\u003c/p>\n\u003ch3>Support verified fundraisers\u003c/h3>\n\u003cp>GoFundMe has established an online hub of verified fundraisers supporting victims and loved ones affected by the shooting, which \u003ca href=\"https://www.gofundme.com/c/act/donate-to-texas-elementary-school-shooting-relief\" target=\"_blank\" rel=\"noopener noreferrer\">you can find here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Those include \u003ca href=\"https://www.gofundme.com/f/mtdrdc-texas-elementary-school-shooting-victims-fund\" target=\"_blank\" rel=\"noopener noreferrer\">a fundraiser organized by VictimsFirst\u003c/a> (a network of survivors and relatives affected by previous mass shootings) to provide victims’ family members with no-strings-attached cash payments.\u003c/p>\n\u003cp>The group said it started the fund “to make sure that 100% of what is collected goes DIRECTLY to the victim base so the victims’ families and those wounded/injured are protected from fraud and exploitation.”\u003c/p>\n\u003cp>As of Wednesday morning, all three verified fundraisers—the VictimsFirst fund, a campaign raising money for funeral expenses for the \u003ca href=\"https://www.gofundme.com/f/please-help-us-put-our-newly-angel-to-rest\" target=\"_blank\" rel=\"noopener noreferrer\">family of Xavier Lopez\u003c/a> and a fundraiser by Austin-based \u003ca href=\"https://www.gofundme.com/f/robb-elementary-school-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">Los Verdes Supporter Group\u003c/a>—had exceeded their financial goals.\u003c/p>\n\u003cp>Two funeral homes in the area, \u003ca href=\"https://www.facebook.com/RushEstesKnowMortUvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">Rushing-Estes Mortuary Uvalde\u003c/a> and \u003ca href=\"https://www.facebook.com/hillcrestfh/photos/a.317618715397540/1334905853668816/\" target=\"_blank\" rel=\"noopener noreferrer\">Hillcrest Memorial Funeral Home\u003c/a>, said in social media posts that they would offer their services to families for free.\u003c/p>\n\u003ch3>More places to donate\u003c/h3>\n\u003cp>The \u003ca href=\"https://www.ucisd.net/\" target=\"_blank\" rel=\"noopener noreferrer\">school district\u003c/a> in Uvalde has opened \u003ca href=\"https://twitter.com/Uvalde_CISD/status/1529515364152901633?s=20&t=RJqsE_eeWdJcG6v1MH5uzw\" target=\"_blank\" rel=\"noopener noreferrer\">an official account\u003c/a> with \u003ca href=\"https://www.fsbuvalde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">First State Bank of Uvalde\u003c/a> to support Robb Elementary families affected by the tragedy. People can send checks through the mail (payable to the “Robb School Memorial Fund”) or donate money through Zelle to robbschoolmemorialfund@gmail.com\u003c/p>\n\u003cp>Other institutions and organizations are also raising money for the community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>People can donate directly to a \u003ca href=\"https://www.universityhealthsystem.com/ways-to-give/donate-to-a-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Uvalde Victims Relief Fund created\u003c/a> by University Health, for example.\u003c/p>\n\u003cp>The League of United Latin American Citizens (LULAC) has created \u003ca href=\"https://lulac.org/uvaldefund/\" target=\"_blank\" rel=\"noopener noreferrer\">a fund for victims and survivors\u003c/a>, and says 100% of contributions will go directly to their families.\u003c/p>\n\u003cp>“Where 90 percent of the students of Robb Elementary School identify as Hispanics and more than four-fifths are economically disadvantaged, this community NEEDS our collective prayers, help, and support,” the group wrote.\u003c/p>\n\u003ch3>The community is seeking volunteer legal services\u003c/h3>\n\u003cp>The San Antonio Legal Services Association is seeking volunteer attorneys who are licensed to practice in the state of Texas, according to \u003ca href=\"https://www.facebook.com/SALSASanAntonio/posts/550018863333129\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a>.\u003c/p>\n\u003cp>“Volunteer NOW to assist Uvalde Shooting Victims and Families with Unmet Legal Needs,” it wrote. “SALSA will respond with pro bono assistance as called upon to do so by community partners and civil leaders over the coming weeks.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The organization is asking qualified attorneys to email them with their area of practice and availability through the month of June.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+to+help+Uvalde+families+following+yesterday%27s+elementary+school+shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland is Unaffordable—Meet the Hustlers Securing Spaces for Artists",
"headTitle": "Oakland is Unaffordable—Meet the Hustlers Securing Spaces for Artists | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ wellbeing. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>When I pulled up to meet Assan Jethmal at \u003ca href=\"https://www.instagram.com/agencyoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Agency Oakland\u003c/a> on an April afternoon, he was alone and covered in dust and grime. A pipe had just broken, and water was slowly flooding the ground of the Jingletown art space he co-founded inside a \u003ca href=\"https://www.kqed.org/arts/13905248/agency-the-loom-oakland-endeavors-proarts-peoples-conservatory\" target=\"_blank\" rel=\"noopener noreferrer\">19th-century former cotton mill called The Loom\u003c/a>. [aside postID=\"arts_13913750\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-2-1020x574.jpg\"]\u003c/p>\n\u003cp>Surprisingly calm, Jethmal let me in and quickly disappeared into a back room. A few minutes later he re-emerged; the water leak was fixed. He began to tell me the story of when he immigrated from the Philippines to the Bay Area after finishing high school—then, a handful of artists and community workers appeared.\u003c/p>\n\u003cp>Once again, circumstances required him to pivot.\u003c/p>\n\u003cp>Together, everyone rolled up their sleeves and went to work. I watched in awe, eventually lending a helping hand while trying not to stifle their flow.\u003c/p>\n\u003cp>That hour with Jethmal was a whirlwind of rapid decisions, physical labor and communicative teamwork that turned the industrial warehouse into an intimate gathering space. Agency was now ready for artists Brittany Tanner and Ayesha Walker to facilitate \u003ca href=\"https://thesongremedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Song Remedy\u003c/a>, a musical healing circle for people who’ve experienced the trauma of gun violence. The event is part of a monthly offering from their collective, \u003ca href=\"https://be-imaginative.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BE-IMAGINATIVE\u003c/a>, whom Jethmal and his business partner Rozz Nash have invited to use the space for free.[pullquote size=\"medium\" align=\"right\" citation=\"Rozz Nash, co-founder of Agency Oakland\"]‘We are usually just grasping for crumbs, and that’s why artists leave to other cities. It’s been awesome to dream this up and provide space for others to realize their dreams.’[/pullquote]\u003c/p>\n\u003cp>To an outsider, these efforts might seem like a well-coordinated and fully-funded campaign to support a neighborhood affected by myriad struggles. But in reality, Agency is fueled by a small group of committed individuals who hustle and sacrifice their time and personal funds to bring it to life—with Jethmal and Nash as the anchors.\u003c/p>\n\u003cp>“Artists need space,” says Nash, the founder of \u003ca href=\"https://www.thepeoplesconservatory.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Conservatory\u003c/a>, a nonprofit offering culturally competent arts education for young people. “We are usually just grasping for crumbs, and that’s why artists leave to other cities. It’s been awesome to dream this up and provide space for others to realize their dreams. We want to figure it out together.”\u003c/p>\n\u003cp>In Oakland, where real estate is at a premium, Nash and Jethmal are essential conduits who do the often-thankless work of securing venues and resources, making them available for artists and communities who need them most. Their dedication behind the scenes ensures that more Bay Area residents have access to the healing, life-affirming and transformative powers of the arts, even as the fallout of the pandemic continues.\u003c/p>\n\u003cp>“I just want to make sure people are aware of how much support the art and community around Oakland needs,” says Jethmal. “If we had that support, imagine what we can do.”\u003c/p>\n\u003cfigure id=\"attachment_13913831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913831\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IMG_8465-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Janay Masters of Hella Plants Market, Brittany Tanner of the Song Remedy, Assan Jethmal, Ayesha Walker of the Song Remedy and her son. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>2020: Laying the Groundwork From Inside Oakland’s Tribune Tower\u003c/h2>\n\u003cp>Jethmal’s involvement in the local scene began long before the pandemic with \u003ca href=\"https://www.instagram.com/goodmothergallery/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Good Mother Gallery\u003c/a>, a downtown Oakland venue he helped launch with his brothers, Ian and Jared Jethmal, and friend Calvin Wong in 2015. The four of them felt like outsiders in traditional art institutions. But through word of mouth, they quickly built a following for their underground aesthetic and anything-goes vibe. Years later, Good Mother remains a fixture even after the pandemic forced numerous small business closures in the neighborhood.\u003c/p>\n\u003cp>When COVID shutdowns began, Jethmal took the opportunity to create a fresh blueprint with a squad of his homies and business partners. He and Marisol Luna started \u003ca href=\"https://www.endeavors-oakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Endeavors Oakland\u003c/a>, an initiative to support local Black and Brown artists and small businesses. With a few acclaimed projects and exhibits under their belt, they gave back as much as they could—and received due props from the Bay Area’s premier art makers.\u003c/p>\n\u003cp>https://www.instagram.com/p/CQ1aZ0vBHyL/\u003c/p>\n\u003cp>In late 2020, when indoor gatherings were still off the table and artists found themselves in dire financial straits, Endeavors began throwing maker markets and hip-hop shows in the empty lot outside the Tribune Tower—just across the street from Good Mother. The COVID-safe events were a success. And, crucially, the owners of the Tribune Tower, \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2022/02/01/highbridge-equity-partners-oakland-office.html\" target=\"_blank\" rel=\"noopener noreferrer\">Highbridge Equity Partners\u003c/a>, saw that Jethmal was turning their forgotten parcel into a hub of concentrated artistry. [aside postID=\"arts_13901928\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/DSC01309-1020x682.jpg\"]\u003c/p>\n\u003cp>These low-key get-togethers at The Lot were the first in a steady chain of victories for Oakland artists. When Highbridge gave Jethmal the keys to the Tribune Tower’s empty fifth floor, he assembled an elite squad of six artists—including \u003ca href=\"https://www.kqed.org/arts/13901928/rightnowish-rachel-wolfe-goldsmith\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe-Goldsmith\u003c/a> and graffiti legend Vogue TDK—to paint the walls and turn the experience into an interactive art tour and, eventually, \u003ca href=\"https://www.kqed.org/arts/13897823/nft-artists-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">an NFT\u003c/a>. The project brought together local organizations like the Bay Area Mural Program and Black Terminus, an augmented reality app that digitally documents Black stories in Oakland’s history.\u003c/p>\n\u003cp>From the beginning, Jethmal and his people insisted on being part of the decision-making process with Highbridge. “We demanded to be a part of the conversation and build with them, rather than them just letting us borrow it for one-time use,” he says.\u003c/p>\n\u003cp>“Now more than ever, we can make an impact that sticks,” he continues. “During the pandemic, it was a free-for-all, no one knew what to do. But that gave us an opportunity to literally create change. We defined new norms about community and how to support each other.”\u003c/p>\n\u003cfigure id=\"attachment_13913832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Assan Jethmal gets the space ready for an elementary school science fair on May 13, 2022 at Agency Oakland. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the Bay Area, social capital is currency. By building relationships with the right people, Jethmal and his team have proven that access is possible, even without endlessly deep pockets. Property owners like Highbridge—who also own The Loom, the 200,000-square-foot former factory that houses Agency Oakland—are exchanging their space for community trust. In turn, artists and communities are gaining access to resources to thrive in a competitively overpriced market.\u003c/p>\n\u003cp>But, in Jethmal’s eyes, there is still much work to be done.\u003c/p>\n\u003ch2>2021: An Immersive Art Experience For and By the Community\u003c/h2>\n\u003cp>In what was personally my favorite art experience during the pandemic, \u003ci>Homebody\u003c/i> came to define what art and community could look like in a socially-distanced world through the use of QR codes, projection technology and dope ideation. But it wasn’t easy. [pullquote size=\"medium\" align=\"right\" citation=\"Allison Torneros, a.k.a. Hueman\"]‘Companies [have been] dedicating huge budgets to reviving the work of old dead white guys, and that didn’t sit well with me. Why don’t you invest in living artists who are making a statement and providing a space for the community to heal?’[/pullquote]\u003c/p>\n\u003cp>The immersive show centered on the otherworldly paintings of \u003ca href=\"http://www.huemannature.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Allison Torneros\u003c/a>, \u003ca href=\"https://www.7x7.com/oakland-artist-hueman-2656932715.html\" target=\"_blank\" rel=\"noopener noreferrer\">better known as Hueman\u003c/a>. She’s a Filipina visual artist from the East Bay whose work has been featured on Steph Curry’s signature sneakers, Lyft Bikes and public walls in Sweden, Haiti and beyond.\u003c/p>\n\u003cp>It’s no surprise that \u003ci>Homebody\u003c/i> became one of the most talked-out experiences in the Bay when it ran from January through February of this year. It featured paintings and sculptures animated by augmented reality and projection mapping, and guest performances from beloved Bay Area musicians like Goapele and Ruby Ibarra. From all accounts, the show was a banger, appearing in \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2022/01/31/immersive-exhibitions-are-big-business.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Business Times\u003c/em>’ coverage of best immersive art experiences\u003c/a> alongside Van Gogh, Picasso and Banksy.\u003c/p>\n\u003cp>Yet unlike the well-resourced, touring Van Gogh and Picasso shows, \u003ci>Homebody\u003c/i> was homegrown out the mud by the people, for the people.\u003c/p>\n\u003cp>“This was all of our first time figuring it out as we went along,” says Torneros, who began working with Jethmal and Endeavors Oakland in 2020. “Companies [have been] dedicating huge budgets to reviving the work of old dead white guys, and that didn’t sit well with me. Why don’t you invest in living artists who are making a statement and providing a space for the community to heal?”\u003c/p>\n\u003cp>Her frustration isn’t uncommon. Every Bay Area artist I’ve spoken to feels similarly—how do independent creators receive the support they need to be seen and heard?\u003c/p>\n\u003cp>In the case of \u003ci>Homebody\u003c/i>, a fellow East Bay Filipina, Cecilia Caparas Apelin, rented out her venue—\u003ca href=\"https://cielcreativespace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ciel Creative Space\u003c/a>—at a reduced cost for Torneros’ and Jethmal’s plans to manifest. The 40,000-square-foot creative sanctuary and production studio is typically booked up through the year.\u003c/p>\n\u003cp>“You want to make sure people are getting paid what they’re worth, so operating costs were our biggest challenge,” Tornernos says. “But the vision was so strong and unique that people were willing to bring their costs down to be a part of it. Many people did. Our vendors graciously lowered their costs to be able to get involved with us.”\u003c/p>\n\u003cfigure id=\"attachment_13913836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913836\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/hueman-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Torneros (center), a.k.a. Hueman, welcomes visitors to her exhibition, ‘Homebody.’ \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Making \u003ci>Homebody\u003c/i> happen required a lot of bartering, trading and freestyling. Local vendors like Elevate Productions, A3 Visuals, Pixl Prints and Mobius Acoustics provided equipment at largely discounted rates. Torneros paid out of her own pocket for other supplies and assembly costs. Jethmal—along with a dedicated group of volunteers, including Nash—gave months of their time to make everything happen, helping with planning and execution, and even welcoming visitors.\u003c/p>\n\u003cp>Despite charging $50 for admission (which included drinks and musical performances), Jethmal says the show’s organizers didn’t break even, and the funds were instead used to partially pay back Ciel Creative Spaces. Still, to the organizers and audiences alike, the ability to come together and experience something fresh during a time of pandemic grief and disconnect was priceless—and proved what can be done even without major resources.\u003c/p>\n\u003cp>Tremendous trade-offs took place for this wildly interconnected machinery to function—ones that traditional institutions would never have to consider. In one case, rising local rapper Mani Draper was given exclusive access to film his latest music video using \u003ci>Homebody\u003c/i> as a backdrop without any rental fee or restrictions. In return, Draper performed a live set as part of the exhibit.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tqLuofZi46o\u003c/p>\n\u003cp>Because a cascade of volunteers and organizers turned the inside of that studio into an SFMOMA-worthy exhibition, major organizations stepped up to support the project. The Golden State Warriors sponsored private tours for high school students, and the Westfield San Francisco Centre offered free ad space. Currently, there are talks of bringing \u003ci>Homebody\u003c/i> to Los Angeles in what Torneros envisions as a potential tour.\u003c/p>\n\u003ch2>2022: Taking ‘Agency’ to Make Change\u003c/h2>\n\u003cp>Now that \u003ci>Homebody\u003c/i> is over for the time being, Jethmal and Nash are focused on making Agency flourish. For artists like Brittany Tanner of Song Remedy, the space is crucial for their vision of art in service of the people. “We just prayed that we would get a space, and two weeks later, we saw that [Agency] had an opening,” says Tanner, who once was an elementary school choir teacher and is now a member of the band SOL Development.\u003c/p>\n\u003cp>To advocates like her—who can’t always afford the thousands of dollars required to rent most venues—Agency has been a lifeline. She gets to use the space, and, in return, the community has an opportunity to support one another in a way that cultivates future artists, clients and partners.\u003c/p>\n\u003cp>According to Jethmal, Agency is about “culture preserving” and “being a resource [for those who] never get taken care of.”\u003c/p>\n\u003cfigure id=\"attachment_13913833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913833\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rozz Nash moves furniture around to prepare Agency Oakland for an elementary school science fair on May 13, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Agency is gradually expanding. On May 21, they hosted a \u003ca href=\"https://www.instagram.com/p/Cd1ncarvsTK/\" target=\"_blank\" rel=\"noopener noreferrer\">record swap and maker market\u003c/a> organized by local collectives Lower Grand Radio and spaz.radio. On May 22, they held a \u003ca href=\"https://www.instagram.com/p/Cd2N_0duOKy/\" target=\"_blank\" rel=\"noopener noreferrer\">Warriors watch party\u003c/a> that raised money for the family of \u003ca href=\"https://www.kqed.org/arts/13913828/jun-anabo-lucky-three-seven-filipino-oakland-eulogy\" target=\"_blank\" rel=\"noopener noreferrer\">Jun Anabo\u003c/a>, the beloved restaurant owner who was recently killed in a shooting. This summer, Nash and Assan want to build small, affordable studios for visual artists, and branch out towards small festivals like Tupac Day. That’ll happen on June 18, just two days after Pac’s birthday, in collaboration with Money B from the Digital Underground, and Mystic—two musicians with whom Tupac worked closely.\u003c/p>\n\u003cp>“We want to support all disciplines of art,” says Nash. “We’ll be offering a daily membership workspace so that media artists, sculptors, painters and others can work and collaborate and build and present together. That’s what we’re about.” [aside postID=\"arts_13913584\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-1-1020x574.jpg\"]\u003c/p>\n\u003cp>Many of these efforts will be debuting under the name “ArtWork.” Nash and Jethmal want to build a recording studio within the next year if all goes according to plan, along with other “activations.”\u003c/p>\n\u003cp>“It’s all been so serendipitous [for us] during the pandemic,” Jethmal says. “If you put things out into the universe, it makes a ripple… [We’re] starting small, with community and culture at the forefront.”\u003c/p>\n\u003cp>Jethmal rejects any individual credit, and is quick to praise those he works with instead. But he and his squad have been putting together a praiseworthy movement that has grown over the past half-decade. It’s one that promises to put essential voices in the room despite the high costs of creating in the Bay Area. Just take a look around, and you’ll see what they’ve already painted and built all over The Town.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ wellbeing. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>When I pulled up to meet Assan Jethmal at \u003ca href=\"https://www.instagram.com/agencyoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Agency Oakland\u003c/a> on an April afternoon, he was alone and covered in dust and grime. A pipe had just broken, and water was slowly flooding the ground of the Jingletown art space he co-founded inside a \u003ca href=\"https://www.kqed.org/arts/13905248/agency-the-loom-oakland-endeavors-proarts-peoples-conservatory\" target=\"_blank\" rel=\"noopener noreferrer\">19th-century former cotton mill called The Loom\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Surprisingly calm, Jethmal let me in and quickly disappeared into a back room. A few minutes later he re-emerged; the water leak was fixed. He began to tell me the story of when he immigrated from the Philippines to the Bay Area after finishing high school—then, a handful of artists and community workers appeared.\u003c/p>\n\u003cp>Once again, circumstances required him to pivot.\u003c/p>\n\u003cp>Together, everyone rolled up their sleeves and went to work. I watched in awe, eventually lending a helping hand while trying not to stifle their flow.\u003c/p>\n\u003cp>That hour with Jethmal was a whirlwind of rapid decisions, physical labor and communicative teamwork that turned the industrial warehouse into an intimate gathering space. Agency was now ready for artists Brittany Tanner and Ayesha Walker to facilitate \u003ca href=\"https://thesongremedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Song Remedy\u003c/a>, a musical healing circle for people who’ve experienced the trauma of gun violence. The event is part of a monthly offering from their collective, \u003ca href=\"https://be-imaginative.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BE-IMAGINATIVE\u003c/a>, whom Jethmal and his business partner Rozz Nash have invited to use the space for free.\u003c/p>\u003c/div>",
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"content": "‘We are usually just grasping for crumbs, and that’s why artists leave to other cities. It’s been awesome to dream this up and provide space for others to realize their dreams.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To an outsider, these efforts might seem like a well-coordinated and fully-funded campaign to support a neighborhood affected by myriad struggles. But in reality, Agency is fueled by a small group of committed individuals who hustle and sacrifice their time and personal funds to bring it to life—with Jethmal and Nash as the anchors.\u003c/p>\n\u003cp>“Artists need space,” says Nash, the founder of \u003ca href=\"https://www.thepeoplesconservatory.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Conservatory\u003c/a>, a nonprofit offering culturally competent arts education for young people. “We are usually just grasping for crumbs, and that’s why artists leave to other cities. It’s been awesome to dream this up and provide space for others to realize their dreams. We want to figure it out together.”\u003c/p>\n\u003cp>In Oakland, where real estate is at a premium, Nash and Jethmal are essential conduits who do the often-thankless work of securing venues and resources, making them available for artists and communities who need them most. Their dedication behind the scenes ensures that more Bay Area residents have access to the healing, life-affirming and transformative powers of the arts, even as the fallout of the pandemic continues.\u003c/p>\n\u003cp>“I just want to make sure people are aware of how much support the art and community around Oakland needs,” says Jethmal. “If we had that support, imagine what we can do.”\u003c/p>\n\u003cfigure id=\"attachment_13913831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913831\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IMG_8465-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Janay Masters of Hella Plants Market, Brittany Tanner of the Song Remedy, Assan Jethmal, Ayesha Walker of the Song Remedy and her son. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>2020: Laying the Groundwork From Inside Oakland’s Tribune Tower\u003c/h2>\n\u003cp>Jethmal’s involvement in the local scene began long before the pandemic with \u003ca href=\"https://www.instagram.com/goodmothergallery/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Good Mother Gallery\u003c/a>, a downtown Oakland venue he helped launch with his brothers, Ian and Jared Jethmal, and friend Calvin Wong in 2015. The four of them felt like outsiders in traditional art institutions. But through word of mouth, they quickly built a following for their underground aesthetic and anything-goes vibe. Years later, Good Mother remains a fixture even after the pandemic forced numerous small business closures in the neighborhood.\u003c/p>\n\u003cp>When COVID shutdowns began, Jethmal took the opportunity to create a fresh blueprint with a squad of his homies and business partners. He and Marisol Luna started \u003ca href=\"https://www.endeavors-oakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Endeavors Oakland\u003c/a>, an initiative to support local Black and Brown artists and small businesses. With a few acclaimed projects and exhibits under their belt, they gave back as much as they could—and received due props from the Bay Area’s premier art makers.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In late 2020, when indoor gatherings were still off the table and artists found themselves in dire financial straits, Endeavors began throwing maker markets and hip-hop shows in the empty lot outside the Tribune Tower—just across the street from Good Mother. The COVID-safe events were a success. And, crucially, the owners of the Tribune Tower, \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2022/02/01/highbridge-equity-partners-oakland-office.html\" target=\"_blank\" rel=\"noopener noreferrer\">Highbridge Equity Partners\u003c/a>, saw that Jethmal was turning their forgotten parcel into a hub of concentrated artistry. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These low-key get-togethers at The Lot were the first in a steady chain of victories for Oakland artists. When Highbridge gave Jethmal the keys to the Tribune Tower’s empty fifth floor, he assembled an elite squad of six artists—including \u003ca href=\"https://www.kqed.org/arts/13901928/rightnowish-rachel-wolfe-goldsmith\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe-Goldsmith\u003c/a> and graffiti legend Vogue TDK—to paint the walls and turn the experience into an interactive art tour and, eventually, \u003ca href=\"https://www.kqed.org/arts/13897823/nft-artists-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">an NFT\u003c/a>. The project brought together local organizations like the Bay Area Mural Program and Black Terminus, an augmented reality app that digitally documents Black stories in Oakland’s history.\u003c/p>\n\u003cp>From the beginning, Jethmal and his people insisted on being part of the decision-making process with Highbridge. “We demanded to be a part of the conversation and build with them, rather than them just letting us borrow it for one-time use,” he says.\u003c/p>\n\u003cp>“Now more than ever, we can make an impact that sticks,” he continues. “During the pandemic, it was a free-for-all, no one knew what to do. But that gave us an opportunity to literally create change. We defined new norms about community and how to support each other.”\u003c/p>\n\u003cfigure id=\"attachment_13913832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Assan Jethmal gets the space ready for an elementary school science fair on May 13, 2022 at Agency Oakland. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the Bay Area, social capital is currency. By building relationships with the right people, Jethmal and his team have proven that access is possible, even without endlessly deep pockets. Property owners like Highbridge—who also own The Loom, the 200,000-square-foot former factory that houses Agency Oakland—are exchanging their space for community trust. In turn, artists and communities are gaining access to resources to thrive in a competitively overpriced market.\u003c/p>\n\u003cp>But, in Jethmal’s eyes, there is still much work to be done.\u003c/p>\n\u003ch2>2021: An Immersive Art Experience For and By the Community\u003c/h2>\n\u003cp>In what was personally my favorite art experience during the pandemic, \u003ci>Homebody\u003c/i> came to define what art and community could look like in a socially-distanced world through the use of QR codes, projection technology and dope ideation. But it wasn’t easy. \u003c/p>\u003c/div>",
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"content": "‘Companies [have been] dedicating huge budgets to reviving the work of old dead white guys, and that didn’t sit well with me. Why don’t you invest in living artists who are making a statement and providing a space for the community to heal?’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The immersive show centered on the otherworldly paintings of \u003ca href=\"http://www.huemannature.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Allison Torneros\u003c/a>, \u003ca href=\"https://www.7x7.com/oakland-artist-hueman-2656932715.html\" target=\"_blank\" rel=\"noopener noreferrer\">better known as Hueman\u003c/a>. She’s a Filipina visual artist from the East Bay whose work has been featured on Steph Curry’s signature sneakers, Lyft Bikes and public walls in Sweden, Haiti and beyond.\u003c/p>\n\u003cp>It’s no surprise that \u003ci>Homebody\u003c/i> became one of the most talked-out experiences in the Bay when it ran from January through February of this year. It featured paintings and sculptures animated by augmented reality and projection mapping, and guest performances from beloved Bay Area musicians like Goapele and Ruby Ibarra. From all accounts, the show was a banger, appearing in \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2022/01/31/immersive-exhibitions-are-big-business.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Business Times\u003c/em>’ coverage of best immersive art experiences\u003c/a> alongside Van Gogh, Picasso and Banksy.\u003c/p>\n\u003cp>Yet unlike the well-resourced, touring Van Gogh and Picasso shows, \u003ci>Homebody\u003c/i> was homegrown out the mud by the people, for the people.\u003c/p>\n\u003cp>“This was all of our first time figuring it out as we went along,” says Torneros, who began working with Jethmal and Endeavors Oakland in 2020. “Companies [have been] dedicating huge budgets to reviving the work of old dead white guys, and that didn’t sit well with me. Why don’t you invest in living artists who are making a statement and providing a space for the community to heal?”\u003c/p>\n\u003cp>Her frustration isn’t uncommon. Every Bay Area artist I’ve spoken to feels similarly—how do independent creators receive the support they need to be seen and heard?\u003c/p>\n\u003cp>In the case of \u003ci>Homebody\u003c/i>, a fellow East Bay Filipina, Cecilia Caparas Apelin, rented out her venue—\u003ca href=\"https://cielcreativespace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ciel Creative Space\u003c/a>—at a reduced cost for Torneros’ and Jethmal’s plans to manifest. The 40,000-square-foot creative sanctuary and production studio is typically booked up through the year.\u003c/p>\n\u003cp>“You want to make sure people are getting paid what they’re worth, so operating costs were our biggest challenge,” Tornernos says. “But the vision was so strong and unique that people were willing to bring their costs down to be a part of it. Many people did. Our vendors graciously lowered their costs to be able to get involved with us.”\u003c/p>\n\u003cfigure id=\"attachment_13913836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913836\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/hueman-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Torneros (center), a.k.a. Hueman, welcomes visitors to her exhibition, ‘Homebody.’ \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Making \u003ci>Homebody\u003c/i> happen required a lot of bartering, trading and freestyling. Local vendors like Elevate Productions, A3 Visuals, Pixl Prints and Mobius Acoustics provided equipment at largely discounted rates. Torneros paid out of her own pocket for other supplies and assembly costs. Jethmal—along with a dedicated group of volunteers, including Nash—gave months of their time to make everything happen, helping with planning and execution, and even welcoming visitors.\u003c/p>\n\u003cp>Despite charging $50 for admission (which included drinks and musical performances), Jethmal says the show’s organizers didn’t break even, and the funds were instead used to partially pay back Ciel Creative Spaces. Still, to the organizers and audiences alike, the ability to come together and experience something fresh during a time of pandemic grief and disconnect was priceless—and proved what can be done even without major resources.\u003c/p>\n\u003cp>Tremendous trade-offs took place for this wildly interconnected machinery to function—ones that traditional institutions would never have to consider. In one case, rising local rapper Mani Draper was given exclusive access to film his latest music video using \u003ci>Homebody\u003c/i> as a backdrop without any rental fee or restrictions. In return, Draper performed a live set as part of the exhibit.\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/tqLuofZi46o'\n title='//www.youtube.com/embed/tqLuofZi46o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Because a cascade of volunteers and organizers turned the inside of that studio into an SFMOMA-worthy exhibition, major organizations stepped up to support the project. The Golden State Warriors sponsored private tours for high school students, and the Westfield San Francisco Centre offered free ad space. Currently, there are talks of bringing \u003ci>Homebody\u003c/i> to Los Angeles in what Torneros envisions as a potential tour.\u003c/p>\n\u003ch2>2022: Taking ‘Agency’ to Make Change\u003c/h2>\n\u003cp>Now that \u003ci>Homebody\u003c/i> is over for the time being, Jethmal and Nash are focused on making Agency flourish. For artists like Brittany Tanner of Song Remedy, the space is crucial for their vision of art in service of the people. “We just prayed that we would get a space, and two weeks later, we saw that [Agency] had an opening,” says Tanner, who once was an elementary school choir teacher and is now a member of the band SOL Development.\u003c/p>\n\u003cp>To advocates like her—who can’t always afford the thousands of dollars required to rent most venues—Agency has been a lifeline. She gets to use the space, and, in return, the community has an opportunity to support one another in a way that cultivates future artists, clients and partners.\u003c/p>\n\u003cp>According to Jethmal, Agency is about “culture preserving” and “being a resource [for those who] never get taken care of.”\u003c/p>\n\u003cfigure id=\"attachment_13913833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913833\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rozz Nash moves furniture around to prepare Agency Oakland for an elementary school science fair on May 13, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Agency is gradually expanding. On May 21, they hosted a \u003ca href=\"https://www.instagram.com/p/Cd1ncarvsTK/\" target=\"_blank\" rel=\"noopener noreferrer\">record swap and maker market\u003c/a> organized by local collectives Lower Grand Radio and spaz.radio. On May 22, they held a \u003ca href=\"https://www.instagram.com/p/Cd2N_0duOKy/\" target=\"_blank\" rel=\"noopener noreferrer\">Warriors watch party\u003c/a> that raised money for the family of \u003ca href=\"https://www.kqed.org/arts/13913828/jun-anabo-lucky-three-seven-filipino-oakland-eulogy\" target=\"_blank\" rel=\"noopener noreferrer\">Jun Anabo\u003c/a>, the beloved restaurant owner who was recently killed in a shooting. This summer, Nash and Assan want to build small, affordable studios for visual artists, and branch out towards small festivals like Tupac Day. That’ll happen on June 18, just two days after Pac’s birthday, in collaboration with Money B from the Digital Underground, and Mystic—two musicians with whom Tupac worked closely.\u003c/p>\n\u003cp>“We want to support all disciplines of art,” says Nash. “We’ll be offering a daily membership workspace so that media artists, sculptors, painters and others can work and collaborate and build and present together. That’s what we’re about.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of these efforts will be debuting under the name “ArtWork.” Nash and Jethmal want to build a recording studio within the next year if all goes according to plan, along with other “activations.”\u003c/p>\n\u003cp>“It’s all been so serendipitous [for us] during the pandemic,” Jethmal says. “If you put things out into the universe, it makes a ripple… [We’re] starting small, with community and culture at the forefront.”\u003c/p>\n\u003cp>Jethmal rejects any individual credit, and is quick to praise those he works with instead. But he and his squad have been putting together a praiseworthy movement that has grown over the past half-decade. It’s one that promises to put essential voices in the room despite the high costs of creating in the Bay Area. Just take a look around, and you’ll see what they’ve already painted and built all over The Town.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Listening Closer to the New KQED Forum Theme Songs",
"headTitle": "Listening Closer to the New KQED Forum Theme Songs | KQED",
"content": "\u003cp>This week on Pass The Aux, we’re doing something a little different. While we typically \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" rel=\"noopener noreferrer\" target=\"_blank\">review new songs from local artists\u003c/a> that are available on streaming, Bandcamp or your local record store, this week’s entry is on your radio waves.\u003c/p>\n\u003cp>Since 1997, listeners of \u003ca href=\"https://www.kqed.org/forum\" rel=\"noopener noreferrer\" target=\"_blank\">KQED Forum\u003c/a> have heard the same theme music: “\u003ca href=\"https://www.youtube.com/watch?v=hsxW4ucKQD4\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Pan\u003c/a>,” by Mike Marshall and Darol Anger, a galloping, noodly mandolin composition that fits into the bluegrass-fusion “newgrass” genre, which hit its peak cultural impact in the ’80s and ’90s. (Before 1997, \u003ca href=\"https://youtu.be/3EOGOTYb-r0\" rel=\"noopener noreferrer\" target=\"_blank\">it was Bach\u003c/a>.) I will be honest: when I first started at KQED, in 2014, I thought to myself, “This sounds embarrassingly dated.” Then, like everybody else, I got used to it, and let inertia do its thing in my listening brain. \u003c/p>\n\u003cp>So while Forum’s two new theme songs might take some getting used to, I can’t help but welcome the change. There’s one for the 9am hour and one for the 10am hour, both created by \u003ca href=\"https://www.npr.org/people/705934700/ramtin-arablouei\" rel=\"noopener noreferrer\" target=\"_blank\">Ramtin Arablouei\u003c/a>, a composer and the co-host and co-producer of NPR’s \u003cem>Throughline\u003c/em>. They are undeniably more modern, and to my ears, a better fit.\u003c/p>\n\u003cp>You can listen to KQED Forum’s Alexis Madrigal discuss the new theme songs, and the world’s \u003ca href=\"https://www.youtube.com/watch?v=7H3JuQUQTLQ\" rel=\"noopener noreferrer\" target=\"_blank\">best theme songs\u003c/a> in general, on \u003ca href=\"https://www.kqed.org/forum/2010101889172/forum-debuts-its-new-theme-song\" rel=\"noopener noreferrer\" target=\"_blank\">Forum’s Monday, May 16 episode\u003c/a>. Let’s debut them in full here, and take a closer listen.\u003c/p>\n\u003cp>https://youtu.be/3AYYl4LeyBQ\u003c/p>\n\u003ch2>The 9am Hour\u003c/h2>\n\u003cp>This one reminds me \u003cem>a lot\u003c/em> of The XX’s “\u003ca href=\"https://www.youtube.com/watch?v=qFq6nnw7xg0\" rel=\"noopener noreferrer\" target=\"_blank\">Intro\u003c/a>.” The use of a minor key here is a curious choice for a morning show, which generally wants to wake viewers up and energize them for the day ahead—not provide reflection, or sadness, emotional states both associated with minor keys.\u003c/p>\n\u003cp>But Arablouei employs a trick here: the melody is straight out of a C-major scale, probably the simplest, happiest scale in music. Beneath that melody, the relative minor (Am) alternates with its fourth (Dm) on a repeating pattern. The drums have less swing than “Intro,” and instead carry a marching-band drive. It all adds up to a mix of verve, reflection, and possibility.\u003c/p>\n\u003cp>You’ll notice that the reverb-drenched guitar dips out for a while; on the radio, that’s where I’ve heard the host announcing the show. After it comes back in, right near the end, the guitar skips the fourth note of its ascending pattern, which drove me crazy at first but now reminds me of the small flubs we make, both on live radio and in life, reminding us of our humanity. \u003c/p>\n\u003cp>https://youtu.be/Ahbx-ZQmQGI\u003c/p>\n\u003ch2>The 10am Hour\u003c/h2>\n\u003cp>This one threw me for a loop. Like the 9am theme, it opens with the cymbal crescendo so familiar to Forum listeners from the start of its \u003ca href=\"https://www.youtube.com/watch?v=hsxW4ucKQD4\" rel=\"noopener noreferrer\" target=\"_blank\">former theme song\u003c/a>, but soon shoots into space. The drums have that swing feel, and the string loop—heavily reminiscent, to me, of Dr. Octagon’s “\u003ca href=\"https://www.youtube.com/watch?v=eAxqed-PPi8\" rel=\"noopener noreferrer\" target=\"_blank\">Blue Flowers\u003c/a>”—contains an Eric Dolphy-esque “blue” note. Listen and you’ll hear it, a weird-sounding little grace note, the fifth note in the pattern.\u003c/p>\n\u003cp>Because this G# note occurs when the C-major composition has moved to a Dm chord, the effect here is a flat fifth, also known as a tritone, or “The Devil’s Interval.” The tritone was once shunned by the church before being embraced by composers like Wagner and, more recently, \u003ca href=\"https://www.youtube.com/watch?v=4rkd3H9gSI8\" rel=\"noopener noreferrer\" target=\"_blank\">metal bands like Neurosis\u003c/a>, from the Bay Area. \u003c/p>\n\u003cp>It may just be a tiny note, but the tritone holds a lot of power. It can convey tension, sometimes even terror. But \u003ca href=\"https://www.youtube.com/watch?v=KB59i99Wxc4\" rel=\"noopener noreferrer\" target=\"_blank\">people like Lizst used it elegantly\u003c/a>, and I think it works here. After all, state-wide issues, the subject of the 10am hour, are often larger and more thorny than local issues. In addition, a descending string counterpoint to the main ascending melody reflects what the best Forum episodes do: hosts Alexis Madrigal and Mina Kim take a ground-level problem, elevate it into intellectual analysis and public discussion, and then bring it back down to Earth with applications in the listener’s own life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n",
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"excerpt": "KQED's Gabe Meline analyzes the new sounds coming from your radio.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week on Pass The Aux, we’re doing something a little different. While we typically \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" rel=\"noopener noreferrer\" target=\"_blank\">review new songs from local artists\u003c/a> that are available on streaming, Bandcamp or your local record store, this week’s entry is on your radio waves.\u003c/p>\n\u003cp>Since 1997, listeners of \u003ca href=\"https://www.kqed.org/forum\" rel=\"noopener noreferrer\" target=\"_blank\">KQED Forum\u003c/a> have heard the same theme music: “\u003ca href=\"https://www.youtube.com/watch?v=hsxW4ucKQD4\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Pan\u003c/a>,” by Mike Marshall and Darol Anger, a galloping, noodly mandolin composition that fits into the bluegrass-fusion “newgrass” genre, which hit its peak cultural impact in the ’80s and ’90s. (Before 1997, \u003ca href=\"https://youtu.be/3EOGOTYb-r0\" rel=\"noopener noreferrer\" target=\"_blank\">it was Bach\u003c/a>.) I will be honest: when I first started at KQED, in 2014, I thought to myself, “This sounds embarrassingly dated.” Then, like everybody else, I got used to it, and let inertia do its thing in my listening brain. \u003c/p>\n\u003cp>So while Forum’s two new theme songs might take some getting used to, I can’t help but welcome the change. There’s one for the 9am hour and one for the 10am hour, both created by \u003ca href=\"https://www.npr.org/people/705934700/ramtin-arablouei\" rel=\"noopener noreferrer\" target=\"_blank\">Ramtin Arablouei\u003c/a>, a composer and the co-host and co-producer of NPR’s \u003cem>Throughline\u003c/em>. They are undeniably more modern, and to my ears, a better fit.\u003c/p>\n\u003cp>You can listen to KQED Forum’s Alexis Madrigal discuss the new theme songs, and the world’s \u003ca href=\"https://www.youtube.com/watch?v=7H3JuQUQTLQ\" rel=\"noopener noreferrer\" target=\"_blank\">best theme songs\u003c/a> in general, on \u003ca href=\"https://www.kqed.org/forum/2010101889172/forum-debuts-its-new-theme-song\" rel=\"noopener noreferrer\" target=\"_blank\">Forum’s Monday, May 16 episode\u003c/a>. Let’s debut them in full here, and take a closer listen.\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/3AYYl4LeyBQ'\n title='//www.youtube.com/embed/3AYYl4LeyBQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The 9am Hour\u003c/h2>\n\u003cp>This one reminds me \u003cem>a lot\u003c/em> of The XX’s “\u003ca href=\"https://www.youtube.com/watch?v=qFq6nnw7xg0\" rel=\"noopener noreferrer\" target=\"_blank\">Intro\u003c/a>.” The use of a minor key here is a curious choice for a morning show, which generally wants to wake viewers up and energize them for the day ahead—not provide reflection, or sadness, emotional states both associated with minor keys.\u003c/p>\n\u003cp>But Arablouei employs a trick here: the melody is straight out of a C-major scale, probably the simplest, happiest scale in music. Beneath that melody, the relative minor (Am) alternates with its fourth (Dm) on a repeating pattern. The drums have less swing than “Intro,” and instead carry a marching-band drive. It all adds up to a mix of verve, reflection, and possibility.\u003c/p>\n\u003cp>You’ll notice that the reverb-drenched guitar dips out for a while; on the radio, that’s where I’ve heard the host announcing the show. After it comes back in, right near the end, the guitar skips the fourth note of its ascending pattern, which drove me crazy at first but now reminds me of the small flubs we make, both on live radio and in life, reminding us of our humanity. \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/Ahbx-ZQmQGI'\n title='//www.youtube.com/embed/Ahbx-ZQmQGI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The 10am Hour\u003c/h2>\n\u003cp>This one threw me for a loop. Like the 9am theme, it opens with the cymbal crescendo so familiar to Forum listeners from the start of its \u003ca href=\"https://www.youtube.com/watch?v=hsxW4ucKQD4\" rel=\"noopener noreferrer\" target=\"_blank\">former theme song\u003c/a>, but soon shoots into space. The drums have that swing feel, and the string loop—heavily reminiscent, to me, of Dr. Octagon’s “\u003ca href=\"https://www.youtube.com/watch?v=eAxqed-PPi8\" rel=\"noopener noreferrer\" target=\"_blank\">Blue Flowers\u003c/a>”—contains an Eric Dolphy-esque “blue” note. Listen and you’ll hear it, a weird-sounding little grace note, the fifth note in the pattern.\u003c/p>\n\u003cp>Because this G# note occurs when the C-major composition has moved to a Dm chord, the effect here is a flat fifth, also known as a tritone, or “The Devil’s Interval.” The tritone was once shunned by the church before being embraced by composers like Wagner and, more recently, \u003ca href=\"https://www.youtube.com/watch?v=4rkd3H9gSI8\" rel=\"noopener noreferrer\" target=\"_blank\">metal bands like Neurosis\u003c/a>, from the Bay Area. \u003c/p>\n\u003cp>It may just be a tiny note, but the tritone holds a lot of power. It can convey tension, sometimes even terror. But \u003ca href=\"https://www.youtube.com/watch?v=KB59i99Wxc4\" rel=\"noopener noreferrer\" target=\"_blank\">people like Lizst used it elegantly\u003c/a>, and I think it works here. After all, state-wide issues, the subject of the 10am hour, are often larger and more thorny than local issues. In addition, a descending string counterpoint to the main ascending melody reflects what the best Forum episodes do: hosts Alexis Madrigal and Mina Kim take a ground-level problem, elevate it into intellectual analysis and public discussion, and then bring it back down to Earth with applications in the listener’s own life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Some are Calling the Buffalo Suspect a 'Teenager.' Is That a Privilege of His Race?",
"headTitle": "Some are Calling the Buffalo Suspect a ‘Teenager.’ Is That a Privilege of His Race? | KQED",
"content": "\u003cp>When news broke of the white supremacist 18-year-old suspect behind the mass shooting in Buffalo, N.Y., Saturday in which 10 people died and three others were injured, certain news organizations and commentators have variously described the suspect as a \u003ca href=\"https://www.nytimes.com/live/2022/05/14/nyregion/buffalo-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">man\u003c/a>, as a \u003ca href=\"https://www.theguardian.com/us-news/2022/may/14/buffalo-shooting-supermarket-new-york\" target=\"_blank\" rel=\"noopener noreferrer\">teenager\u003c/a> and as a \u003ca href=\"https://twitter.com/DaveSFoley/status/1525860224732741633?s=20&t=KUXbLj4ogQwUGcENNItYXQ\" target=\"_blank\" rel=\"noopener noreferrer\">child\u003c/a>.\u003c/p>\n\u003cp>Critics are asking: If the suspect had been Black, would he have been described and treated similarly?\u003c/p>\n\u003cp>\u003ca href=\"https://www.apa.org/news/press/releases/2014/03/black-boys-older\" target=\"_blank\" rel=\"noopener noreferrer\">Study\u003c/a> after \u003ca href=\"https://genderjusticeandopportunity.georgetown.edu/wp-content/uploads/2020/06/girlhood-interrupted.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> shows that Black children—from those as young as 5 to the end of their teens—are often perceived to be and are treated as older than their actual physical and developmental age. As a result, these children are frequently judged to be more adult-like and less innocent than white peers.\u003c/p>\n\u003cp>[aside postID='arts_13862605,arts_13881199,arts_13913116']That difference in perception is reflected repeatedly in the media. When Michael Brown, Black and 18 years old, was shot by a white police officer in Ferguson, Mo. in 2014, the AP referred to Brown as a \u003ca href=\"https://pbs.twimg.com/media/FSzpeXeXoAABr7W.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">“man”\u003c/a>; after the Buffalo shooting Saturday, the same news organization referred to the suspect as a \u003ca href=\"https://twitter.com/thrasherxy/status/1525851085461766144/photo/2\" target=\"_blank\" rel=\"noopener noreferrer\">“white teenager,”\u003c/a> as scholar and journalist Steven Thrasher pointed out on Twitter.\u003c/p>\n\u003cp>At least certain people who are vaguely college-aged often enjoy the benefits of being perceived as young and in need of adult protection—not just by the media, but also by law enforcement. After Dylann Roof—a white 21-year-old—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/01/10/509166866/jury-sentences-dylann-roof-to-die\" target=\"_blank\" rel=\"noopener noreferrer\">murdered\u003c/a> nine Black churchgoers in Charleston, S.C. in 2015, police bought him a \u003ca href=\"https://abc7.com/dylann-roof-south-carolina-church-shooting-emanuel-african-methodist-episcopal/801013/\" target=\"_blank\" rel=\"noopener noreferrer\">Burger King meal\u003c/a> after he was taken into custody. When Kyle Rittenhouse—white and 17 years old—\u003ca href=\"https://www.google.com/search?q=kyle+rittenhouse+npr&rlz=1C1GCEJ_enUS883US883&sxsrf=ALiCzsZv6TJB52IkizY7WN5HV05ElO0ZVg%3A1652711137575&ei=4V6CYtjeIrq4ytMP-N6C-Aw&ved=0ahUKEwiY05XinOT3AhU6nHIEHXivAM8Q4dUDCA4&uact=5&oq=kyle+rittenhouse+npr&gs_lcp=Cgdnd3Mtd2l6EAM6CggAELEDEIMBEEM6CwgAEIAEELEDEIMBOggIABCABBCxAzoFCAAQgARKBAhBGAFKBAhGGABQ5gJYtAVgzAZoAXAAeACAAUqIAfYBkgEBNJgBAKABAcABAQ&sclient=gws-wiz\" target=\"_blank\" rel=\"noopener noreferrer\">fatally shot\u003c/a> two people in Kenosha, Wisc. in 2020, he was taken into police custody without incident or injury. In Buffalo, some in the Black community are \u003ca href=\"https://buffalonews.com/news/local/buffalo-police-credited-with-saving-lives-but-gunmans-surrender-is-questioned/article_62d1ccf0-d482-11ec-8318-1fb2a0621b4c.html\" target=\"_blank\" rel=\"noopener noreferrer\">already asking\u003c/a> how the suspect in Saturday’s shooting was able to surrender to police peacefully.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By contrast, critics are naming well-known younger Black victims killed by police—like 12-year-old \u003ca href=\"https://www.npr.org/2020/12/29/951277146/justice-department-declines-to-prosecute-cleveland-officers-who-killed-tamir-ric\" target=\"_blank\" rel=\"noopener noreferrer\">Tamir Rice\u003c/a> and 23-year-old \u003ca href=\"https://www.npr.org/2021/09/01/1033289263/elijah-mcclain-death-officers-paramedics-charged\" target=\"_blank\" rel=\"noopener noreferrer\">Eljah McClain\u003c/a>—who did not enjoy such consideration.\u003c/p>\n\u003cp>The Buffalo suspect straddles both life stages, in that liminal time of young adulthood. When he was still legally a child, there were concerns about the suspect in the Buffalo shooting—enough that state police \u003ca href=\"https://www.npr.org/2022/05/15/1099009422/buffalo-shooting-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">referred\u003c/a> him for a mental health evaluation last year, when police say he made a shooting threat against his high school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a community vigil held Sunday, the Rev. Tim Brown underscored that the racist views of the Buffalo suspect were shaped when he was still a child, NPR’s Quil Lawrence \u003ca href=\"https://www.npr.org/2022/05/16/1099070372/black-buffalo-community-is-tired-of-hearing-promises-when-the-killings-dont-stop\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a>. “The indoctrination of a boy to kill people that don’t look like him is only because somebody is having a conversation that divides our people as a race and as humanity,” Brown said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/2022/05/16/1099137936/some-are-calling-the-buffalo-suspect-a-teenager-is-that-a-privilege-of-his-race\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Some+are+calling+the+Buffalo+suspect+a+%27teenager.%27+Is+that+a+privilege+of+his+race%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The white supremacist suspect in Buffalo is 18. Yet some news organizations have called him a \"teenager\" and \"child.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When news broke of the white supremacist 18-year-old suspect behind the mass shooting in Buffalo, N.Y., Saturday in which 10 people died and three others were injured, certain news organizations and commentators have variously described the suspect as a \u003ca href=\"https://www.nytimes.com/live/2022/05/14/nyregion/buffalo-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">man\u003c/a>, as a \u003ca href=\"https://www.theguardian.com/us-news/2022/may/14/buffalo-shooting-supermarket-new-york\" target=\"_blank\" rel=\"noopener noreferrer\">teenager\u003c/a> and as a \u003ca href=\"https://twitter.com/DaveSFoley/status/1525860224732741633?s=20&t=KUXbLj4ogQwUGcENNItYXQ\" target=\"_blank\" rel=\"noopener noreferrer\">child\u003c/a>.\u003c/p>\n\u003cp>Critics are asking: If the suspect had been Black, would he have been described and treated similarly?\u003c/p>\n\u003cp>\u003ca href=\"https://www.apa.org/news/press/releases/2014/03/black-boys-older\" target=\"_blank\" rel=\"noopener noreferrer\">Study\u003c/a> after \u003ca href=\"https://genderjusticeandopportunity.georgetown.edu/wp-content/uploads/2020/06/girlhood-interrupted.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> shows that Black children—from those as young as 5 to the end of their teens—are often perceived to be and are treated as older than their actual physical and developmental age. As a result, these children are frequently judged to be more adult-like and less innocent than white peers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That difference in perception is reflected repeatedly in the media. When Michael Brown, Black and 18 years old, was shot by a white police officer in Ferguson, Mo. in 2014, the AP referred to Brown as a \u003ca href=\"https://pbs.twimg.com/media/FSzpeXeXoAABr7W.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">“man”\u003c/a>; after the Buffalo shooting Saturday, the same news organization referred to the suspect as a \u003ca href=\"https://twitter.com/thrasherxy/status/1525851085461766144/photo/2\" target=\"_blank\" rel=\"noopener noreferrer\">“white teenager,”\u003c/a> as scholar and journalist Steven Thrasher pointed out on Twitter.\u003c/p>\n\u003cp>At least certain people who are vaguely college-aged often enjoy the benefits of being perceived as young and in need of adult protection—not just by the media, but also by law enforcement. After Dylann Roof—a white 21-year-old—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/01/10/509166866/jury-sentences-dylann-roof-to-die\" target=\"_blank\" rel=\"noopener noreferrer\">murdered\u003c/a> nine Black churchgoers in Charleston, S.C. in 2015, police bought him a \u003ca href=\"https://abc7.com/dylann-roof-south-carolina-church-shooting-emanuel-african-methodist-episcopal/801013/\" target=\"_blank\" rel=\"noopener noreferrer\">Burger King meal\u003c/a> after he was taken into custody. When Kyle Rittenhouse—white and 17 years old—\u003ca href=\"https://www.google.com/search?q=kyle+rittenhouse+npr&rlz=1C1GCEJ_enUS883US883&sxsrf=ALiCzsZv6TJB52IkizY7WN5HV05ElO0ZVg%3A1652711137575&ei=4V6CYtjeIrq4ytMP-N6C-Aw&ved=0ahUKEwiY05XinOT3AhU6nHIEHXivAM8Q4dUDCA4&uact=5&oq=kyle+rittenhouse+npr&gs_lcp=Cgdnd3Mtd2l6EAM6CggAELEDEIMBEEM6CwgAEIAEELEDEIMBOggIABCABBCxAzoFCAAQgARKBAhBGAFKBAhGGABQ5gJYtAVgzAZoAXAAeACAAUqIAfYBkgEBNJgBAKABAcABAQ&sclient=gws-wiz\" target=\"_blank\" rel=\"noopener noreferrer\">fatally shot\u003c/a> two people in Kenosha, Wisc. in 2020, he was taken into police custody without incident or injury. In Buffalo, some in the Black community are \u003ca href=\"https://buffalonews.com/news/local/buffalo-police-credited-with-saving-lives-but-gunmans-surrender-is-questioned/article_62d1ccf0-d482-11ec-8318-1fb2a0621b4c.html\" target=\"_blank\" rel=\"noopener noreferrer\">already asking\u003c/a> how the suspect in Saturday’s shooting was able to surrender to police peacefully.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By contrast, critics are naming well-known younger Black victims killed by police—like 12-year-old \u003ca href=\"https://www.npr.org/2020/12/29/951277146/justice-department-declines-to-prosecute-cleveland-officers-who-killed-tamir-ric\" target=\"_blank\" rel=\"noopener noreferrer\">Tamir Rice\u003c/a> and 23-year-old \u003ca href=\"https://www.npr.org/2021/09/01/1033289263/elijah-mcclain-death-officers-paramedics-charged\" target=\"_blank\" rel=\"noopener noreferrer\">Eljah McClain\u003c/a>—who did not enjoy such consideration.\u003c/p>\n\u003cp>The Buffalo suspect straddles both life stages, in that liminal time of young adulthood. When he was still legally a child, there were concerns about the suspect in the Buffalo shooting—enough that state police \u003ca href=\"https://www.npr.org/2022/05/15/1099009422/buffalo-shooting-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">referred\u003c/a> him for a mental health evaluation last year, when police say he made a shooting threat against his high school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a community vigil held Sunday, the Rev. Tim Brown underscored that the racist views of the Buffalo suspect were shaped when he was still a child, NPR’s Quil Lawrence \u003ca href=\"https://www.npr.org/2022/05/16/1099070372/black-buffalo-community-is-tired-of-hearing-promises-when-the-killings-dont-stop\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a>. “The indoctrination of a boy to kill people that don’t look like him is only because somebody is having a conversation that divides our people as a race and as humanity,” Brown said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/2022/05/16/1099137936/some-are-calling-the-buffalo-suspect-a-teenager-is-that-a-privilege-of-his-race\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Some+are+calling+the+Buffalo+suspect+a+%27teenager.%27+Is+that+a+privilege+of+his+race%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Overturning \u003cem>Roe v. Wade\u003c/em> could have implications for more than access to abortion; medical and legal experts say it could open the door to restrictions on other types of reproductive health care.\u003c/p>\n\u003cp>“To say that we are incredibly concerned would, I think, actually be putting it mildly,” said Dr. Kavita Arora, chair of the ethics committee at the \u003ca href=\"https://www.acog.org/womens-health/healthy-living/birth-control\" target=\"_blank\" rel=\"noopener noreferrer\">American College of Obstetricians & Gynecologists\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13911818']Arora said the decision could have far-reaching implications for other types of care including birth control, emergency contraception known as Plan B, trans-affirming healthcare, and fertility treatments such as \u003ca href=\"https://www.mayoclinic.org/tests-procedures/in-vitro-fertilization/about/pac-20384716\" target=\"_blank\" rel=\"noopener noreferrer\">in vitro fertilization\u003c/a>, which can produce leftover embryos.\u003c/p>\n\u003cp>“This threatens our ability to take care of patients on a daily basis,” Arora said.\u003c/p>\n\u003cp>Most types of contraception prevent a sperm from fertilizing an egg. But as a second line of defense, she said some can stop an already-fertilized egg from implanting in the uterus—considered the beginning of a pregnancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In changing definition of when pregnancy starts to just at fertilization, it would compromise our ability to provide access to really highly effective methods of contraception such as the copper IUD,” Arora said.\u003c/p>\n\u003cp>Some abortion rights opponents regard such devices as quote “life-ending” because of the possibility that implantation can be disrupted.\u003c/p>\n\u003cp>[aside postid='arts_13913100']Kristan Hawkins is president of the anti-abortion rights groups Students for Life of America, which is pushing for state and federal legislation to recognize human life as beginning “\u003ca href=\"https://studentsforlife.org/2022/02/02/why-every-state-needs-a-life-at-conception-bill/\" target=\"_blank\" rel=\"noopener noreferrer\">at conception\u003c/a>.” Her group takes the position that some devices and pills that can prevent implantation of a fertilized egg are “mislabeled” as contraception—a position at odds with the American College of Obstetricians & Gynecologists, which defines pregnancy as beginning at implantation.\u003c/p>\n\u003cp>“I think legislators should be able to have the right to decide and to investigate if there are devices, if there’s chemicals that are ending the lives of their citizens in their state,” Hawkins said.\u003c/p>\n\u003cp>In an interview last week, Hawkins denied that birth control is a focus of her movement—and called that notion a “scare tactic.”\u003c/p>\n\u003cp>Some Republican leaders, including a state lawmaker \u003ca href=\"https://www.vice.com/en/article/g5qam9/roe-v-wade-birth-control\" target=\"_blank\" rel=\"noopener noreferrer\">in Idaho\u003c/a>, have expressed an openness to entertaining questions about the safety of contraceptives, which are tested by federal regulators before they are put on the market.\u003c/p>\n\u003cp>Last week, a Louisiana state lawmaker proposed a bill that would classify \u003ca href=\"https://www.wwno.org/2022-05-05/louisiana-bill-would-allow-murder-charges-for-abortions-opponents-call-it-barbaric\" target=\"_blank\" rel=\"noopener noreferrer\">abortion as a homicide\u003c/a>—beginning at the moment of fertilization.\u003c/p>\n\u003cp>On CNN’s “State of the Union” on Sunday, when host Jake Tapper asked Mississippi’s Republican Gov. Tate Reeves about the bill in his neighboring state, Reeves \u003ca href=\"https://www.cnn.com/videos/politics/2022/05/08/mississippi-abortion-law-roe-wade-governor-tate-reeves-sotu-vpx.cnn\" target=\"_blank\" rel=\"noopener noreferrer\">declined to rule out\u003c/a> support for similar legislation, saying only, “That is not what we are focused on at this time.”\u003c/p>\n\u003cp>[aside postid='arts_13912860']Under Roe, the right to an abortion is guaranteed under the right to privacy. That’s also part of the rationale for the \u003ca href=\"https://www.npr.org/2022/05/05/1096732347/roe-v-wade-implications-beyond-abortion\" target=\"_blank\" rel=\"noopener noreferrer\">Griswold v. Connecticut\u003c/a> decision in 1965, which recognized a right to contraception for married people—and eventually, everyone else.\u003c/p>\n\u003cp>In his draft opinion in the major abortion case, Dobbs v. Jackson Women’s Health Organization, which was leaked to \u003cem>Politico\u003c/em> last week, Justice Samuel Alito argued that abortion is different from other rights, like contraception and marriage, because he said it destroys fetal life.\u003c/p>\n\u003cp>But \u003ca href=\"https://www.law.berkeley.edu/our-faculty/faculty-profiles/khiara-bridges/\" target=\"_blank\" rel=\"noopener noreferrer\">Khiara M. Bridges\u003c/a>, a law professor at the UC Berkeley, said Alito’s originalist view of the Constitution offers no guarantees that women’s rights will be protected.\u003c/p>\n\u003cp>“Because women were not part of the body politic, the rights that are important to people who can get pregnant are just not contemplated by the Constitution,” Bridges said. “The drafters of the Constitution could care less about what women’s concerns were, what they needed in order to be fully human in society.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the court is willing to do away with longstanding precedent like Roe, Bridges said, it’s impossible to predict what other rights also could be in question.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+would+overturning+Roe+mean+for+birth+control%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Overturning \u003cem>Roe v. Wade\u003c/em> could have implications for more than access to abortion; medical and legal experts say it could open the door to restrictions on other types of reproductive health care.\u003c/p>\n\u003cp>“To say that we are incredibly concerned would, I think, actually be putting it mildly,” said Dr. Kavita Arora, chair of the ethics committee at the \u003ca href=\"https://www.acog.org/womens-health/healthy-living/birth-control\" target=\"_blank\" rel=\"noopener noreferrer\">American College of Obstetricians & Gynecologists\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Arora said the decision could have far-reaching implications for other types of care including birth control, emergency contraception known as Plan B, trans-affirming healthcare, and fertility treatments such as \u003ca href=\"https://www.mayoclinic.org/tests-procedures/in-vitro-fertilization/about/pac-20384716\" target=\"_blank\" rel=\"noopener noreferrer\">in vitro fertilization\u003c/a>, which can produce leftover embryos.\u003c/p>\n\u003cp>“This threatens our ability to take care of patients on a daily basis,” Arora said.\u003c/p>\n\u003cp>Most types of contraception prevent a sperm from fertilizing an egg. But as a second line of defense, she said some can stop an already-fertilized egg from implanting in the uterus—considered the beginning of a pregnancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kristan Hawkins is president of the anti-abortion rights groups Students for Life of America, which is pushing for state and federal legislation to recognize human life as beginning “\u003ca href=\"https://studentsforlife.org/2022/02/02/why-every-state-needs-a-life-at-conception-bill/\" target=\"_blank\" rel=\"noopener noreferrer\">at conception\u003c/a>.” Her group takes the position that some devices and pills that can prevent implantation of a fertilized egg are “mislabeled” as contraception—a position at odds with the American College of Obstetricians & Gynecologists, which defines pregnancy as beginning at implantation.\u003c/p>\n\u003cp>“I think legislators should be able to have the right to decide and to investigate if there are devices, if there’s chemicals that are ending the lives of their citizens in their state,” Hawkins said.\u003c/p>\n\u003cp>In an interview last week, Hawkins denied that birth control is a focus of her movement—and called that notion a “scare tactic.”\u003c/p>\n\u003cp>Some Republican leaders, including a state lawmaker \u003ca href=\"https://www.vice.com/en/article/g5qam9/roe-v-wade-birth-control\" target=\"_blank\" rel=\"noopener noreferrer\">in Idaho\u003c/a>, have expressed an openness to entertaining questions about the safety of contraceptives, which are tested by federal regulators before they are put on the market.\u003c/p>\n\u003cp>Last week, a Louisiana state lawmaker proposed a bill that would classify \u003ca href=\"https://www.wwno.org/2022-05-05/louisiana-bill-would-allow-murder-charges-for-abortions-opponents-call-it-barbaric\" target=\"_blank\" rel=\"noopener noreferrer\">abortion as a homicide\u003c/a>—beginning at the moment of fertilization.\u003c/p>\n\u003cp>On CNN’s “State of the Union” on Sunday, when host Jake Tapper asked Mississippi’s Republican Gov. Tate Reeves about the bill in his neighboring state, Reeves \u003ca href=\"https://www.cnn.com/videos/politics/2022/05/08/mississippi-abortion-law-roe-wade-governor-tate-reeves-sotu-vpx.cnn\" target=\"_blank\" rel=\"noopener noreferrer\">declined to rule out\u003c/a> support for similar legislation, saying only, “That is not what we are focused on at this time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Under Roe, the right to an abortion is guaranteed under the right to privacy. That’s also part of the rationale for the \u003ca href=\"https://www.npr.org/2022/05/05/1096732347/roe-v-wade-implications-beyond-abortion\" target=\"_blank\" rel=\"noopener noreferrer\">Griswold v. Connecticut\u003c/a> decision in 1965, which recognized a right to contraception for married people—and eventually, everyone else.\u003c/p>\n\u003cp>In his draft opinion in the major abortion case, Dobbs v. Jackson Women’s Health Organization, which was leaked to \u003cem>Politico\u003c/em> last week, Justice Samuel Alito argued that abortion is different from other rights, like contraception and marriage, because he said it destroys fetal life.\u003c/p>\n\u003cp>But \u003ca href=\"https://www.law.berkeley.edu/our-faculty/faculty-profiles/khiara-bridges/\" target=\"_blank\" rel=\"noopener noreferrer\">Khiara M. Bridges\u003c/a>, a law professor at the UC Berkeley, said Alito’s originalist view of the Constitution offers no guarantees that women’s rights will be protected.\u003c/p>\n\u003cp>“Because women were not part of the body politic, the rights that are important to people who can get pregnant are just not contemplated by the Constitution,” Bridges said. “The drafters of the Constitution could care less about what women’s concerns were, what they needed in order to be fully human in society.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the court is willing to do away with longstanding precedent like Roe, Bridges said, it’s impossible to predict what other rights also could be in question.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+would+overturning+Roe+mean+for+birth+control%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hip-Hop for Change Boycotts Continental Club Over Alleged Discrimination",
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"content": "\u003cp>Speaking out against racism isn’t controversial in Oakland, a city known nationwide for its activism. At least that’s what Eric Sasz of Hip-Hop For Change assumed when his nonprofit rented the \u003ca href=\"https://www.continentalcluboakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Continental Club\u003c/a> for its free, all ages Women’s Empowerment Summit on March 12.\u003c/p>\n\u003cp>Originally opened in 1961, the Continental Club hosted blues and R&B artists for decades as part of West Oakland’s once-thriving circuit of Black nightclubs. The club reopened in its current form in January, and features a Black Panther Party-themed mural on its rooftop in homage to its history. That’s why Sasz was taken aback when Ron Frydberg, the owner of the venue, asked him to take down T-shirts with the slogan “End White Supremacy” from his merch table, Sasz said.\u003c/p>\n\u003cp>“I was like, ‘There’s no way.’ I think this is our best-selling T-shirt,” recalled Sasz, who serves as Hip-Hop for Change’s event director. “This is what we do as an organization: fight racism and do social justice work.”\u003c/p>\n\u003cp>After Sasz pushed back, he said, Frydberg backed down. But the T-shirt incident was the first in a series of discriminatory behaviors Sasz said he and his staff witnessed during the Hip-Hop for Change event.\u003c/p>\n\u003cp>Now, Hip-Hop For Change and other event organizers in Oakland are accusing Frydberg of racism, homophobia and sexism, and calling for a boycott of the Continental Club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He’s contributing to the problem in Oakland right now, which is coming into historically Black places and colonizing them,” Sasz said.\u003c/p>\n\u003cp>Meanwhile, Frydberg denied several of the allegations. “It’s unfortunate that they had such a negative feeling towards us after doing everything we were supposed to do to host their event,” he said.\u003c/p>\n\u003cp>https://www.instagram.com/p/CdMO5VePp_q/\u003c/p>\n\u003ch2>Accusations Over the ‘F’-Word\u003c/h2>\n\u003cp>Another Hip-Hop for Change staffer, who spoke to KQED under the condition of anonymity out of fear of retaliation, was working the Women’s Empowerment Summit when a colleague came to her in tears after a conversation with Frydberg.\u003c/p>\n\u003cp>“She just came up to me and she’s like, ‘He just called me the ‘f’-word,’” said the Hip-Hop for Change staffer, referring to the homophobic slur. “And she is a transgender Black woman. And I was like, ‘Wait, what? Like, he did what?’ And [Ron] was very defensive about it.”\u003c/p>\n\u003cp>As the Hip-Hop for Change staffer put it, after being called the slur, the transgender woman became increasingly upset, had too much to drink and had to go home in an Uber. “When we were leaving, Ron’s security team kept calling her ‘him’ and kept saying, ‘Oh, the gay boy over there’ and stuff like that,’” the staffer said.\u003c/p>\n\u003cp>Sasz discussed the situation with his staff, including the person who was allegedly called the slur. Afterwards, Sasz confronted Frydberg, who denied using that language.\u003c/p>\n\u003cp>[pullquote size='large' citation='Eric Sasz, Hip-Hop for Change']‘We’re just trying to educate our community so folks don’t have the same experience we had.’[/pullquote]\u003c/p>\n\u003cp>When reached by KQED, Frydberg denied ever using the slur, and accused Sasz of changing his story. “What he told me is that he heard that somebody in my staff said that, not me specifically,” he said. “In fact, what had happened was I was coming to talk to him about a situation about his staff being drunk and belligerent, and harassing my security guards. … He couldn’t tell me who it was [that used the slur]. I talked to all of my staff. It became a big issue that night.”\u003c/p>\n\u003cp>“We go above and beyond to make sure that everybody is well respected while they’re at the club,” Frydberg added.\u003c/p>\n\u003cp>Sasz denies that he changed his story.\u003c/p>\n\u003ch2>‘Guilty of Being White’\u003c/h2>\n\u003cp>Tensions escalated as the Women’s Empowerment Summit continued. According to Sasz and several other witnesses, Frydberg and his security repeatedly asked one of Hip-Hop for Change’s artists, a new mother with two infants, to move from a booth Frydberg wanted to reserve for bottle service. The table hadn’t been sold, and neither had several others in the section that afternoon. (The artist, Gina Madrid, said she sat at the booth to move her babies away from the club’s speakers.) Sasz also said that at the end of the event, Frydberg raised his voice and threatened to throw Hip-Hop for Change’s chairs into the street if they didn’t get them out that night.\u003c/p>\n\u003cp>“He’s seeing the demographic of the crowd, I think, that we’re bringing in,” recalled Sasz, noting that most attendees of the Hip-Hop for Change event were Black and brown, while Frydberg is white. “And I think that’s where we started to feel racist behavior.”\u003c/p>\n\u003cp>Speaking to KQED, Frydberg denied asking Madrid to move, but also asserted his right to maintain a service offered at his club. He denied getting aggressive about the chairs, and said that he asked politely for Hip-Hop for Change to remove them.\u003c/p>\n\u003cp>At first, Frydberg declined to answer questions about the “End White Supremacy” T-shirts. Shortly after Hip-Hop for Change posted their call for a boycott of Continental Club on Instagram on May 5, the club’s account commented that Hip-Hop for Change is now “bashing us because they didn’t like someone who’s only guilty of being white.”\u003c/p>\n\u003cfigure id=\"attachment_13913121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913121\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/MHP_6724-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A speaker panel at Hip-Hop for Change’s Women’s Empowerment Summit at Continental Club on March 12, 2022. \u003ccite>(Jane Vick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in a follow-up conversation, Frydberg’s tone changed from defensive to apologetic, and he clarified that he agrees with the “End White Supremacy” message. He only wanted the T-shirts taken down from the raised display, he said, out of fear of making the club a target for angry white supremacists. (Sasz said he understood Frydberg to be asking him to not sell the T-shirt at all.)\u003c/p>\n\u003cp>“I can understand how it might have been misconstrued as supporting white supremacy, but like, I’m Jewish,” Frydberg said, adding, “I clearly understand that I made the wrong decision. And it was hurtful in the moment, but it was not in any way with any intention to not support the cause.”\u003c/p>\n\u003cp>He described Hip-Hop for Change’s boycott on Instagram as “a piling-on campaign of white supremacy and racism, when that’s not the truth.”\u003c/p>\n\u003cp>[pullquote size='large' citation='Ron Frydberg, Continental Club']‘I clearly understand that I made the wrong decision. And it was hurtful in the moment, but it was not in any way with any intention to not support [Hip-Hop for Change’s] cause.’[/pullquote]\u003c/p>\n\u003ch2>The Former Bar Manager Speaks Out\u003c/h2>\n\u003cp>Dennise Acio, the former Continental Club bar manager, said Hip-Hop for Change’s Women’s Empowerment Summit wasn’t the first time people felt unsafe or uncomfortable at the venue because of Frydberg.\u003c/p>\n\u003cp>According to Acio, Frydberg regularly made sexualized comments about female staff members. “He has said many times that he wants to hire bartenders that are sexy, and [he would] point certain people out. ‘Oh, like her,’” Acio said. “I had this one guy I hired. He’s great, he’s dependable. He’s always there and doing a good job. And yet [Ron] even pointed him out like, ‘Not like him.’”\u003c/p>\n\u003cp>When asked whether he had ever made comments sexualizing employees, Frydberg changed the subject and said Acio was the one who was in charge of hiring. (Acio said all hiring decisions had to go through Frydberg.) Frydberg said that his staff represents the community, and includes many queer women of color. “We’re committed to having a diverse staff that represents our community in all shapes and forms and sizes, and so on and so forth,” he said.\u003c/p>\n\u003cp>He was “using us as a face,” Acio said. “But really what he represented wasn’t the community at all.”\u003c/p>\n\u003cfigure id=\"attachment_13913122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/continental-club-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the Continental Club. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘These are Dog-Whistle Words’\u003c/h2>\n\u003cp>In January, Acio pitched Frydberg on the Continental Club hosting The Sweet Spot, a new party she’d created in collaboration with her partner, DJ and promoter Lady Ryan. Lady Ryan said that Frydberg’s former booking manager, Mark Sandstorm, relayed a flat-rate offer of $400, which she considered insultingly low. (“I’ve never seen a situation where a venue offers a promoter $400 to bring in their entire community,” Lady Ryan said, noting that the Continental Club is in a residential area without much foot traffic.)\u003c/p>\n\u003cp>After negotiations, the two agreed that Lady Ryan and Acio would keep the door proceeds, and the venue would keep bar sales. The first Sweet Spot party on March 6 was a success. Despite the tensions with Frydberg, Acio and Lady Ryan decided to throw another one on April 3.\u003c/p>\n\u003cp>After the second party ended, one of the bartenders poured the staff a round of after-shift drinks, a common practice in the bar industry. In a follow-up conversation, Frydberg told Acio that the drinks constituted stealing, and demanded she pay him back. Frydberg said he had a strict rule against shift drinks; Acio and Sandstorm, the former booking manager, said there was no clear, consistent policy at the time. “He picked and chose what it was,” Acio said.\u003c/p>\n\u003cp>“He was making comments like, for our community to claim that they’re so woke and … that they support one another, ‘And here you guys are stealing from me,’” Acio said. “I’m like, ‘We weren’t stealing from you.’ We worked our asses off and we had a couple of drinks after work.”\u003c/p>\n\u003cp>“Using the word ‘thieves,’ using the word ‘woke.’ You know, these are kind of like dog-whistle words,” Lady Ryan said.\u003c/p>\n\u003cp>“To my understanding, the staff—Dennise included, Lady Ryan—decided to throw themselves a party after the event,” Frydberg said. “I felt very disrespected as, you know, as a business, that the bar manager is allowing people to effectively steal from the company,” he added.\u003c/p>\n\u003cp>Acio said there was no afterparty: the staff was still closing the club down and counting tips when the shots were poured.\u003c/p>\n\u003cp>“I reprimanded her, and that’s when the attacks started happening with Dennise and Lady Ryan,” said Frydberg, referring to Acio and Lady Ryan’s Instagram story posts detailing their complaints about the club.\u003c/p>\n\u003cfigure id=\"attachment_13913123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/1Y3A0026-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Sweet Spot party at Continental Club on April 3. \u003ccite>(Courtesy of The Sweet Spot and Stephen Flynn Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘That’s Our Labor’\u003c/h2>\n\u003cp>Acio and Frydberg’s working relationship deteriorated, and she quit at the end of April. But even afterward, the Continental Club’s Instagram posted photos from The Sweet Spot to advertise their rooftop bar. “That’s our vibe, that’s our energy, that’s our labor that we put into that. And they’re capitalizing off of it,” Ryan said.\u003c/p>\n\u003cp>After KQED interviewed Sasz and Frydberg about the allegations last week, Sasz got a call from DJ Sam Mack, the grandson of Curtis Christy, who co-founded the original Continental Club—first as a restaurant in 1947 and then as an expanded nightclub in 1961. Sasz said that Mack told him he’d “see [him] in the streets” if he continued to speak out about the Continental Club, which Sasz took as a threat. Sasz showed KQED screenshots of text messages from Mack telling him to “shut the fuck up about white supremacy.”\u003c/p>\n\u003cp>Reached by KQED, Mack denied saying he would “see [Sasz] in the streets,” and insisted he had called to invite Sasz to a restorative justice circle to resolve the conflict. “If he took that as violence, then that’s [on] him,” said Mack.\u003c/p>\n\u003cp>https://www.instagram.com/p/CdZLOdYLy8d/\u003c/p>\n\u003cp>Sasz said that despite the perceived threat, Hip-Hop for Change is proceeding with the boycott. “Really we’re just trying to educate our community so folks don’t have the same experience we had,” he said, characterizing the night as “probably the worst venue experience I’ve ever had.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Frydberg, meanwhile, said he wants to make amends and is open to meeting with Hip-Hop for Change on their terms. On May 10, he posted an apology on Instagram. “I understand that they’re hurt. And however we can rectify this, we are willing to make any commitment,” said Frydberg. “Like, if they want me to take a diversity training, I’m happy to do that. I mean, there’s nothing I won’t do to rectify this.”\u003c/p>\n\n",
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"excerpt": "Several event organizers allege racism, sexism and homophobia. Owner Ron Frydberg denies claims of bigotry.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Speaking out against racism isn’t controversial in Oakland, a city known nationwide for its activism. At least that’s what Eric Sasz of Hip-Hop For Change assumed when his nonprofit rented the \u003ca href=\"https://www.continentalcluboakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Continental Club\u003c/a> for its free, all ages Women’s Empowerment Summit on March 12.\u003c/p>\n\u003cp>Originally opened in 1961, the Continental Club hosted blues and R&B artists for decades as part of West Oakland’s once-thriving circuit of Black nightclubs. The club reopened in its current form in January, and features a Black Panther Party-themed mural on its rooftop in homage to its history. That’s why Sasz was taken aback when Ron Frydberg, the owner of the venue, asked him to take down T-shirts with the slogan “End White Supremacy” from his merch table, Sasz said.\u003c/p>\n\u003cp>“I was like, ‘There’s no way.’ I think this is our best-selling T-shirt,” recalled Sasz, who serves as Hip-Hop for Change’s event director. “This is what we do as an organization: fight racism and do social justice work.”\u003c/p>\n\u003cp>After Sasz pushed back, he said, Frydberg backed down. But the T-shirt incident was the first in a series of discriminatory behaviors Sasz said he and his staff witnessed during the Hip-Hop for Change event.\u003c/p>\n\u003cp>Now, Hip-Hop For Change and other event organizers in Oakland are accusing Frydberg of racism, homophobia and sexism, and calling for a boycott of the Continental Club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He’s contributing to the problem in Oakland right now, which is coming into historically Black places and colonizing them,” Sasz said.\u003c/p>\n\u003cp>Meanwhile, Frydberg denied several of the allegations. “It’s unfortunate that they had such a negative feeling towards us after doing everything we were supposed to do to host their event,” he said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>Accusations Over the ‘F’-Word\u003c/h2>\n\u003cp>Another Hip-Hop for Change staffer, who spoke to KQED under the condition of anonymity out of fear of retaliation, was working the Women’s Empowerment Summit when a colleague came to her in tears after a conversation with Frydberg.\u003c/p>\n\u003cp>“She just came up to me and she’s like, ‘He just called me the ‘f’-word,’” said the Hip-Hop for Change staffer, referring to the homophobic slur. “And she is a transgender Black woman. And I was like, ‘Wait, what? Like, he did what?’ And [Ron] was very defensive about it.”\u003c/p>\n\u003cp>As the Hip-Hop for Change staffer put it, after being called the slur, the transgender woman became increasingly upset, had too much to drink and had to go home in an Uber. “When we were leaving, Ron’s security team kept calling her ‘him’ and kept saying, ‘Oh, the gay boy over there’ and stuff like that,’” the staffer said.\u003c/p>\n\u003cp>Sasz discussed the situation with his staff, including the person who was allegedly called the slur. Afterwards, Sasz confronted Frydberg, who denied using that language.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When reached by KQED, Frydberg denied ever using the slur, and accused Sasz of changing his story. “What he told me is that he heard that somebody in my staff said that, not me specifically,” he said. “In fact, what had happened was I was coming to talk to him about a situation about his staff being drunk and belligerent, and harassing my security guards. … He couldn’t tell me who it was [that used the slur]. I talked to all of my staff. It became a big issue that night.”\u003c/p>\n\u003cp>“We go above and beyond to make sure that everybody is well respected while they’re at the club,” Frydberg added.\u003c/p>\n\u003cp>Sasz denies that he changed his story.\u003c/p>\n\u003ch2>‘Guilty of Being White’\u003c/h2>\n\u003cp>Tensions escalated as the Women’s Empowerment Summit continued. According to Sasz and several other witnesses, Frydberg and his security repeatedly asked one of Hip-Hop for Change’s artists, a new mother with two infants, to move from a booth Frydberg wanted to reserve for bottle service. The table hadn’t been sold, and neither had several others in the section that afternoon. (The artist, Gina Madrid, said she sat at the booth to move her babies away from the club’s speakers.) Sasz also said that at the end of the event, Frydberg raised his voice and threatened to throw Hip-Hop for Change’s chairs into the street if they didn’t get them out that night.\u003c/p>\n\u003cp>“He’s seeing the demographic of the crowd, I think, that we’re bringing in,” recalled Sasz, noting that most attendees of the Hip-Hop for Change event were Black and brown, while Frydberg is white. “And I think that’s where we started to feel racist behavior.”\u003c/p>\n\u003cp>Speaking to KQED, Frydberg denied asking Madrid to move, but also asserted his right to maintain a service offered at his club. He denied getting aggressive about the chairs, and said that he asked politely for Hip-Hop for Change to remove them.\u003c/p>\n\u003cp>At first, Frydberg declined to answer questions about the “End White Supremacy” T-shirts. Shortly after Hip-Hop for Change posted their call for a boycott of Continental Club on Instagram on May 5, the club’s account commented that Hip-Hop for Change is now “bashing us because they didn’t like someone who’s only guilty of being white.”\u003c/p>\n\u003cfigure id=\"attachment_13913121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913121\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/MHP_6724-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/MHP_6724.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A speaker panel at Hip-Hop for Change’s Women’s Empowerment Summit at Continental Club on March 12, 2022. \u003ccite>(Jane Vick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in a follow-up conversation, Frydberg’s tone changed from defensive to apologetic, and he clarified that he agrees with the “End White Supremacy” message. He only wanted the T-shirts taken down from the raised display, he said, out of fear of making the club a target for angry white supremacists. (Sasz said he understood Frydberg to be asking him to not sell the T-shirt at all.)\u003c/p>\n\u003cp>“I can understand how it might have been misconstrued as supporting white supremacy, but like, I’m Jewish,” Frydberg said, adding, “I clearly understand that I made the wrong decision. And it was hurtful in the moment, but it was not in any way with any intention to not support the cause.”\u003c/p>\n\u003cp>He described Hip-Hop for Change’s boycott on Instagram as “a piling-on campaign of white supremacy and racism, when that’s not the truth.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>The Former Bar Manager Speaks Out\u003c/h2>\n\u003cp>Dennise Acio, the former Continental Club bar manager, said Hip-Hop for Change’s Women’s Empowerment Summit wasn’t the first time people felt unsafe or uncomfortable at the venue because of Frydberg.\u003c/p>\n\u003cp>According to Acio, Frydberg regularly made sexualized comments about female staff members. “He has said many times that he wants to hire bartenders that are sexy, and [he would] point certain people out. ‘Oh, like her,’” Acio said. “I had this one guy I hired. He’s great, he’s dependable. He’s always there and doing a good job. And yet [Ron] even pointed him out like, ‘Not like him.’”\u003c/p>\n\u003cp>When asked whether he had ever made comments sexualizing employees, Frydberg changed the subject and said Acio was the one who was in charge of hiring. (Acio said all hiring decisions had to go through Frydberg.) Frydberg said that his staff represents the community, and includes many queer women of color. “We’re committed to having a diverse staff that represents our community in all shapes and forms and sizes, and so on and so forth,” he said.\u003c/p>\n\u003cp>He was “using us as a face,” Acio said. “But really what he represented wasn’t the community at all.”\u003c/p>\n\u003cfigure id=\"attachment_13913122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/continental-club-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/continental-club-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the Continental Club. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘These are Dog-Whistle Words’\u003c/h2>\n\u003cp>In January, Acio pitched Frydberg on the Continental Club hosting The Sweet Spot, a new party she’d created in collaboration with her partner, DJ and promoter Lady Ryan. Lady Ryan said that Frydberg’s former booking manager, Mark Sandstorm, relayed a flat-rate offer of $400, which she considered insultingly low. (“I’ve never seen a situation where a venue offers a promoter $400 to bring in their entire community,” Lady Ryan said, noting that the Continental Club is in a residential area without much foot traffic.)\u003c/p>\n\u003cp>After negotiations, the two agreed that Lady Ryan and Acio would keep the door proceeds, and the venue would keep bar sales. The first Sweet Spot party on March 6 was a success. Despite the tensions with Frydberg, Acio and Lady Ryan decided to throw another one on April 3.\u003c/p>\n\u003cp>After the second party ended, one of the bartenders poured the staff a round of after-shift drinks, a common practice in the bar industry. In a follow-up conversation, Frydberg told Acio that the drinks constituted stealing, and demanded she pay him back. Frydberg said he had a strict rule against shift drinks; Acio and Sandstorm, the former booking manager, said there was no clear, consistent policy at the time. “He picked and chose what it was,” Acio said.\u003c/p>\n\u003cp>“He was making comments like, for our community to claim that they’re so woke and … that they support one another, ‘And here you guys are stealing from me,’” Acio said. “I’m like, ‘We weren’t stealing from you.’ We worked our asses off and we had a couple of drinks after work.”\u003c/p>\n\u003cp>“Using the word ‘thieves,’ using the word ‘woke.’ You know, these are kind of like dog-whistle words,” Lady Ryan said.\u003c/p>\n\u003cp>“To my understanding, the staff—Dennise included, Lady Ryan—decided to throw themselves a party after the event,” Frydberg said. “I felt very disrespected as, you know, as a business, that the bar manager is allowing people to effectively steal from the company,” he added.\u003c/p>\n\u003cp>Acio said there was no afterparty: the staff was still closing the club down and counting tips when the shots were poured.\u003c/p>\n\u003cp>“I reprimanded her, and that’s when the attacks started happening with Dennise and Lady Ryan,” said Frydberg, referring to Acio and Lady Ryan’s Instagram story posts detailing their complaints about the club.\u003c/p>\n\u003cfigure id=\"attachment_13913123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/1Y3A0026-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/1Y3A0026.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Sweet Spot party at Continental Club on April 3. \u003ccite>(Courtesy of The Sweet Spot and Stephen Flynn Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘That’s Our Labor’\u003c/h2>\n\u003cp>Acio and Frydberg’s working relationship deteriorated, and she quit at the end of April. But even afterward, the Continental Club’s Instagram posted photos from The Sweet Spot to advertise their rooftop bar. “That’s our vibe, that’s our energy, that’s our labor that we put into that. And they’re capitalizing off of it,” Ryan said.\u003c/p>\n\u003cp>After KQED interviewed Sasz and Frydberg about the allegations last week, Sasz got a call from DJ Sam Mack, the grandson of Curtis Christy, who co-founded the original Continental Club—first as a restaurant in 1947 and then as an expanded nightclub in 1961. Sasz said that Mack told him he’d “see [him] in the streets” if he continued to speak out about the Continental Club, which Sasz took as a threat. Sasz showed KQED screenshots of text messages from Mack telling him to “shut the fuck up about white supremacy.”\u003c/p>\n\u003cp>Reached by KQED, Mack denied saying he would “see [Sasz] in the streets,” and insisted he had called to invite Sasz to a restorative justice circle to resolve the conflict. “If he took that as violence, then that’s [on] him,” said Mack.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sasz said that despite the perceived threat, Hip-Hop for Change is proceeding with the boycott. “Really we’re just trying to educate our community so folks don’t have the same experience we had,” he said, characterizing the night as “probably the worst venue experience I’ve ever had.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Frydberg, meanwhile, said he wants to make amends and is open to meeting with Hip-Hop for Change on their terms. On May 10, he posted an apology on Instagram. “I understand that they’re hurt. And however we can rectify this, we are willing to make any commitment,” said Frydberg. “Like, if they want me to take a diversity training, I’m happy to do that. I mean, there’s nothing I won’t do to rectify this.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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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": "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.",
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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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"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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"politicalbreakdown": {
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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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