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"content": "\u003cp>The late Toni Morrison once \u003ca href=\"https://twitter.com/ARRAYNow/status/1111382762492039168?s=20\">reflected on her work\u003c/a> as a Nobel Prize-winning Black woman author who wrote about Black people by saying: “I stood at the border, stood at the edge, and claimed it as central and let the rest of the world move over to where I was.”\u003c/p>\n\u003cp>That sentiment rang true for me when I visited \u003ca href=\"https://www.icasf.org/exhibitions/3-resting-our-eyes\">\u003ci>Resting Our Eyes\u003c/i>\u003c/a>, an exhibition that curators Tahirah Rasheed and Autumn Breon created to celebrate Black women “through the lens of leisure and physical adornment.” It’s on view at the new \u003ca href=\"https://www.icasf.org/about\">Institute for Contemporary Art\u003c/a> in San Francisco through June 25.\u003c/p>\n\u003cp>In this space, I was the center. My style. My attitude. My adornment. Resting \u003ci>our\u003c/i> eyes meant resting \u003ci>my\u003c/i> eyes. And the rest of the exhibition’s viewers — none of whom, at the time I visited, were Black women — metaphorically moved over to where \u003ci>I\u003c/i> was.\u003c/p>\n\u003cfigure id=\"attachment_13925449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White-800x584.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White-1536x1122.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland-based artist Sadie Barnette’s ‘Easy in the Den,’ 2019. Archival pigment print, photography of found film with overlaid rhinestone. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To be clear, this exhibition is for everybody to experience, enjoy and reflect on, not just Black women. But one doesn’t have to look very hard to see all the reasons this exhibition was conceived to center the Black woman’s peace of mind, body and soul. As young girls, we’re \u003ca href=\"https://www.ted.com/talks/monique_w_morris_why_black_girls_are_targeted_for_punishment_at_school_and_how_to_change_that?language=en\">targeted for punishment\u003c/a> at school. We experience \u003ca href=\"https://iwpr.org/iwpr-issues/race-ethnicity-gender-and-economy/violence-against-black-women-many-types-far-reaching-effects/\">higher rates of intimate partner violence\u003c/a> than any other racial group. Our \u003ca href=\"https://www.today.com/health/implicit-bias-medicine-how-it-hurts-black-women-t187866\">physical pain is dismissed\u003c/a> or overlooked in the health care system. And we navigate a whole lot of micro- and macro-aggressions \u003ca href=\"https://hbr.org/2022/05/why-many-women-of-color-dont-want-to-return-to-the-office\">at work\u003c/a>.\u003c/p>\n\u003cp>In their curators’ statement, Rasheed, a Cal alum, and Breon, a Stanford graduate, reference \u003ca href=\"https://www.facebook.com/Thenapministry/photos/so-in-1918-white-folks-got-together-to-create-an-ordinance-for-black-women-to-wo/2766939353549262/?paipv=0&eav=AfZctv5r112s91ldhHymeSJt1NUpCDsa-AHhBUIqfQY1gE3q2GSWeDFQRhAchz2Pdjc&_rdr\">a 1918 ordinance\u003c/a> in Greenville, South Carolina that “jailed or fined Black women if they could not prove ‘regular and useful employment.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So, yeah — the idea of Black women getting to just \u003ci>be?\u003c/i> Getting to \u003ci>rest?\u003c/i> It’s radical.\u003c/p>\n\u003cfigure id=\"attachment_13925452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-800x734.jpg\" alt=\"a neon sculpture with a red outline of hands and the words 'care is the antidote to violence' in purple\" width=\"800\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-800x734.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-1020x936.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-768x705.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-1536x1410.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-2048x1880.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-1920x1762.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ja’Tovia Gary’s ‘Citational Ethics (Saidiya Hartman, 2017),’ 2020. Neon, glass, wire and metal. \u003ccite>(Courtesy of Collection of Bob Rennie; Vancouver, Canada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A radical spirit is what fueled Rasheed and Breon, who turned to the words of the \u003ca href=\"https://www.thenation.com/article/society/combahee-river-collective-oral-history/\">Combahee River Collective\u003c/a> when imagining the exhibition. The collective was a Black feminist lesbian socialist organization, active in the mid- to late-70s, that published the influential \u003ca href=\"https://americanstudies.yale.edu/sites/default/files/files/Keyword%20Coalition_Readings.pdf\">Combahee River Collective Statement\u003c/a>. Their statement introduced the concept of “identity politics” as necessary in the fight for liberation, writing, “we believe that the most profound and potentially most radical politics come directly out of our own identity…”[aside label=\"Related Stories\" postID=\"arts_13889089,arts_13920320\"]\u003c/p>\n\u003cp>Put more plainly: When Black women are free, society benefits.\u003c/p>\n\u003cp>Inspired by this philosophy, Breon \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a42789004/resting-our-eyes-ica-art-interview/\">told \u003cem>Harper’s Bazaar\u003c/em>\u003c/a> that she and Rasheed “kept on coming back to the idea of ‘What is the aesthetic of a free Black woman?’”\u003c/p>\n\u003cp>Their answer to that question is in the new and existing works on display from 20 Black artists — including four from the Bay Area – who span generations and mediums, including mixed media, photography, painting, video, textile and sculpture.\u003c/p>\n\u003cp>I reflected on my time with a few of these works below.\u003c/p>\n\u003ch2>Mickalene Thomas, ‘Love’s Been Good to Me Too #2’\u003c/h2>\n\u003cfigure id=\"attachment_13925455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-800x1047.jpg\" alt=\"a textile work shows a Black woman dressed in colorful clothes sitting against colorful cushions\" width=\"800\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-800x1047.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-1020x1334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-768x1005.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-1174x1536.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-1565x2048.jpg 1565w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires.jpg 1875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mickalene Thomas’ ‘Love’s Been Good To Me #2,’ 2010. Rhinestones, acrylic and enamel on wood panel. \u003ccite>(Courtesy of Collection of Jeffrey N. Dauber and Marc A. Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brooklyn-based Mickalene Thomas, one of my favorite visual artists, is an iconic voice when it comes to showcasing Black women in repose. The Black woman subject in \u003ci>Love’s Been Good to Me Too #2\u003c/i> is towering in size and bold in her bejeweled presentation. With her confident pose, glittering eyeshadow and colorful resort wear, I couldn’t help but hear “Take Up Space Sis” (from the official, Rasheed-curated \u003ca href=\"https://open.spotify.com/playlist/2YAHHv2AXWF0yugSvd4vcx?si=0S5O5b9ZR5Wc8Uv8SEjBdw&nd=1\">\u003cem>Resting Our Eyes\u003c/em> Spotify playlist\u003c/a>) playing in my mind: “I hype me up, I gas me up / Take up space sis, got more room with this.”\u003c/p>\n\u003ch2>Lava Thomas, ‘Clouds of Joy’\u003c/h2>\n\u003cfigure id=\"attachment_13925456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/CloudsofJoy-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/CloudsofJoy-800x587.jpg\" alt=\"a textile work shows different sizes and shades of blue circles on a white background\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-2048x1503.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-1920x1409.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lava Thomas’ ‘Clouds of Joy,’ 2021. Tambourines, leather, suede, acrylic mirror, blue acrylic discs and ribbon. \u003ccite>(Courtesy of the artist and Rena Bransten Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I stood in front of \u003cem>Clouds of Joy\u003c/em>, by Berkeley’s Lava Thomas, for a time. I took in the piece as a whole, as well as my own blue-tinted reflection in the mirrored surfaces (I must say, it’s a flattering hue). Reading in the exhibition guide that \u003ci>Clouds of Joy\u003c/i> is part of Thomas’ “ongoing project that recalls Civil Rights Era protest songs in the African American music tradition” deepened my experience of it.\u003c/p>\n\u003ch2>Traci Bartlow, ‘Girl Boss’\u003c/h2>\n\u003cfigure id=\"attachment_13925457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-800x1208.jpg\" alt=\"a color photograph shows a young Black woman in green pants and a dark shirt and sneakers sitting on the street looking at the camera\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-1357x2048.jpg 1357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-1920x2898.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-scaled.jpg 1696w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow’s ‘Girl Boss,’ 1996. Photograph. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I saw the aptly titled \u003ci>Girl Boss\u003c/i>, a photograph taken in 1996 by Oakland-born Traci Bartlow, the young woman’s resolute pose and stare grabbed me. So unbothered. I immediately thought of the words of Zora Neale Hurston: “I love myself when I am laughing … and then again when I’m looking mean and impressive.”\u003c/p>\n\u003ch2>Lauren Halsey, ‘Untitled’\u003c/h2>\n\u003cfigure id=\"attachment_13925467\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/LHA-21-042-hr_1200.jpg\" alt=\"\" width=\"1200\" height=\"1680\" class=\"size-full wp-image-13925467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/LHA-21-042-hr_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/LHA-21-042-hr_1200-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/LHA-21-042-hr_1200-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/LHA-21-042-hr_1200-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/LHA-21-042-hr_1200-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/LHA-21-042-hr_1200-1097x1536.jpg 1097w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Halsey, ‘Untitled,’ 2021. Synthetic hair on wood, 110 x 56 x 8 inches. \u003ccite>(Photo by Allen Chen; Courtesy of David Kordansky Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the last pieces I observed, this work — created with synthetic hair bundles — was literally a soft place to land. I’ve been in a space of personally expanding the colors that I wear, from clothes to jewelry to hair, in a way that feels more daring to me, yet more authentic to my true self. This piece felt like another affirmation to lean into the freedom of expression I’ve been feeling. It’s one of many freedoms that was once \u003ca href=\"https://www.vice.com/en/article/j5abvx/black-womens-hair-illegal-tignon-laws-new-orleans-louisiana\">denied to Black women\u003c/a>, as Rasheed and Breon drive home in their curators’ statement.\u003c/p>\n\u003cp>Ironically, I’ve written all this while tired and not having experienced the most restful sleep the last few weeks (deadlines, oh so many deadlines). But among the many affirmations Rasheed and Breon’s exhibition left me with was this: Just like art is a practice, so is rest. It’s a radical and necessary one, in fact. (Let the \u003ca href=\"https://thenapministry.com/\">Nap Ministry\u003c/a> say “Amen!”)\u003c/p>\n\u003cp>Now if you’ll excuse me while I rest my eyes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Resting Our Eyes,’ curated by Tahirah Rasheed and Autumn Breon, is on view at the Institute of Contemporary Art San Francisco through June 25. \u003ca href=\"https://www.icasf.org/exhibitions/3-resting-our-eyes\">www.\u003c/a>\u003ca href=\"https://www.icasf.org/exhibitions/3-resting-our-eyes\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The late Toni Morrison once \u003ca href=\"https://twitter.com/ARRAYNow/status/1111382762492039168?s=20\">reflected on her work\u003c/a> as a Nobel Prize-winning Black woman author who wrote about Black people by saying: “I stood at the border, stood at the edge, and claimed it as central and let the rest of the world move over to where I was.”\u003c/p>\n\u003cp>That sentiment rang true for me when I visited \u003ca href=\"https://www.icasf.org/exhibitions/3-resting-our-eyes\">\u003ci>Resting Our Eyes\u003c/i>\u003c/a>, an exhibition that curators Tahirah Rasheed and Autumn Breon created to celebrate Black women “through the lens of leisure and physical adornment.” It’s on view at the new \u003ca href=\"https://www.icasf.org/about\">Institute for Contemporary Art\u003c/a> in San Francisco through June 25.\u003c/p>\n\u003cp>In this space, I was the center. My style. My attitude. My adornment. Resting \u003ci>our\u003c/i> eyes meant resting \u003ci>my\u003c/i> eyes. And the rest of the exhibition’s viewers — none of whom, at the time I visited, were Black women — metaphorically moved over to where \u003ci>I\u003c/i> was.\u003c/p>\n\u003cfigure id=\"attachment_13925449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White-800x584.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White-1536x1122.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Barnette_Easy-in-the-Den-2019_SB00101PG_John-Wilson-White.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland-based artist Sadie Barnette’s ‘Easy in the Den,’ 2019. Archival pigment print, photography of found film with overlaid rhinestone. \u003ccite>(Courtesy of the artist and Jessica Silverman, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To be clear, this exhibition is for everybody to experience, enjoy and reflect on, not just Black women. But one doesn’t have to look very hard to see all the reasons this exhibition was conceived to center the Black woman’s peace of mind, body and soul. As young girls, we’re \u003ca href=\"https://www.ted.com/talks/monique_w_morris_why_black_girls_are_targeted_for_punishment_at_school_and_how_to_change_that?language=en\">targeted for punishment\u003c/a> at school. We experience \u003ca href=\"https://iwpr.org/iwpr-issues/race-ethnicity-gender-and-economy/violence-against-black-women-many-types-far-reaching-effects/\">higher rates of intimate partner violence\u003c/a> than any other racial group. Our \u003ca href=\"https://www.today.com/health/implicit-bias-medicine-how-it-hurts-black-women-t187866\">physical pain is dismissed\u003c/a> or overlooked in the health care system. And we navigate a whole lot of micro- and macro-aggressions \u003ca href=\"https://hbr.org/2022/05/why-many-women-of-color-dont-want-to-return-to-the-office\">at work\u003c/a>.\u003c/p>\n\u003cp>In their curators’ statement, Rasheed, a Cal alum, and Breon, a Stanford graduate, reference \u003ca href=\"https://www.facebook.com/Thenapministry/photos/so-in-1918-white-folks-got-together-to-create-an-ordinance-for-black-women-to-wo/2766939353549262/?paipv=0&eav=AfZctv5r112s91ldhHymeSJt1NUpCDsa-AHhBUIqfQY1gE3q2GSWeDFQRhAchz2Pdjc&_rdr\">a 1918 ordinance\u003c/a> in Greenville, South Carolina that “jailed or fined Black women if they could not prove ‘regular and useful employment.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, yeah — the idea of Black women getting to just \u003ci>be?\u003c/i> Getting to \u003ci>rest?\u003c/i> It’s radical.\u003c/p>\n\u003cfigure id=\"attachment_13925452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-800x734.jpg\" alt=\"a neon sculpture with a red outline of hands and the words 'care is the antidote to violence' in purple\" width=\"800\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-800x734.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-1020x936.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-768x705.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-1536x1410.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-2048x1880.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GaryJ_Citational-Ethics_HR_Paula-Cooper-cropped-1920x1762.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ja’Tovia Gary’s ‘Citational Ethics (Saidiya Hartman, 2017),’ 2020. Neon, glass, wire and metal. \u003ccite>(Courtesy of Collection of Bob Rennie; Vancouver, Canada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A radical spirit is what fueled Rasheed and Breon, who turned to the words of the \u003ca href=\"https://www.thenation.com/article/society/combahee-river-collective-oral-history/\">Combahee River Collective\u003c/a> when imagining the exhibition. The collective was a Black feminist lesbian socialist organization, active in the mid- to late-70s, that published the influential \u003ca href=\"https://americanstudies.yale.edu/sites/default/files/files/Keyword%20Coalition_Readings.pdf\">Combahee River Collective Statement\u003c/a>. Their statement introduced the concept of “identity politics” as necessary in the fight for liberation, writing, “we believe that the most profound and potentially most radical politics come directly out of our own identity…”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Put more plainly: When Black women are free, society benefits.\u003c/p>\n\u003cp>Inspired by this philosophy, Breon \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a42789004/resting-our-eyes-ica-art-interview/\">told \u003cem>Harper’s Bazaar\u003c/em>\u003c/a> that she and Rasheed “kept on coming back to the idea of ‘What is the aesthetic of a free Black woman?’”\u003c/p>\n\u003cp>Their answer to that question is in the new and existing works on display from 20 Black artists — including four from the Bay Area – who span generations and mediums, including mixed media, photography, painting, video, textile and sculpture.\u003c/p>\n\u003cp>I reflected on my time with a few of these works below.\u003c/p>\n\u003ch2>Mickalene Thomas, ‘Love’s Been Good to Me Too #2’\u003c/h2>\n\u003cfigure id=\"attachment_13925455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-800x1047.jpg\" alt=\"a textile work shows a Black woman dressed in colorful clothes sitting against colorful cushions\" width=\"800\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-800x1047.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-1020x1334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-768x1005.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-1174x1536.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires-1565x2048.jpg 1565w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Thomas_LovesBeenGood2_hires.jpg 1875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mickalene Thomas’ ‘Love’s Been Good To Me #2,’ 2010. Rhinestones, acrylic and enamel on wood panel. \u003ccite>(Courtesy of Collection of Jeffrey N. Dauber and Marc A. Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brooklyn-based Mickalene Thomas, one of my favorite visual artists, is an iconic voice when it comes to showcasing Black women in repose. The Black woman subject in \u003ci>Love’s Been Good to Me Too #2\u003c/i> is towering in size and bold in her bejeweled presentation. With her confident pose, glittering eyeshadow and colorful resort wear, I couldn’t help but hear “Take Up Space Sis” (from the official, Rasheed-curated \u003ca href=\"https://open.spotify.com/playlist/2YAHHv2AXWF0yugSvd4vcx?si=0S5O5b9ZR5Wc8Uv8SEjBdw&nd=1\">\u003cem>Resting Our Eyes\u003c/em> Spotify playlist\u003c/a>) playing in my mind: “I hype me up, I gas me up / Take up space sis, got more room with this.”\u003c/p>\n\u003ch2>Lava Thomas, ‘Clouds of Joy’\u003c/h2>\n\u003cfigure id=\"attachment_13925456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/CloudsofJoy-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/CloudsofJoy-800x587.jpg\" alt=\"a textile work shows different sizes and shades of blue circles on a white background\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-2048x1503.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CloudsofJoy-1920x1409.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lava Thomas’ ‘Clouds of Joy,’ 2021. Tambourines, leather, suede, acrylic mirror, blue acrylic discs and ribbon. \u003ccite>(Courtesy of the artist and Rena Bransten Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I stood in front of \u003cem>Clouds of Joy\u003c/em>, by Berkeley’s Lava Thomas, for a time. I took in the piece as a whole, as well as my own blue-tinted reflection in the mirrored surfaces (I must say, it’s a flattering hue). Reading in the exhibition guide that \u003ci>Clouds of Joy\u003c/i> is part of Thomas’ “ongoing project that recalls Civil Rights Era protest songs in the African American music tradition” deepened my experience of it.\u003c/p>\n\u003ch2>Traci Bartlow, ‘Girl Boss’\u003c/h2>\n\u003cfigure id=\"attachment_13925457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-800x1208.jpg\" alt=\"a color photograph shows a young Black woman in green pants and a dark shirt and sneakers sitting on the street looking at the camera\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-1357x2048.jpg 1357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-1920x2898.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Copy-of-Girl-Boss-9-8-scaled.jpg 1696w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow’s ‘Girl Boss,’ 1996. Photograph. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I saw the aptly titled \u003ci>Girl Boss\u003c/i>, a photograph taken in 1996 by Oakland-born Traci Bartlow, the young woman’s resolute pose and stare grabbed me. So unbothered. I immediately thought of the words of Zora Neale Hurston: “I love myself when I am laughing … and then again when I’m looking mean and impressive.”\u003c/p>\n\u003ch2>Lauren Halsey, ‘Untitled’\u003c/h2>\n\u003cfigure id=\"attachment_13925467\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/LHA-21-042-hr_1200.jpg\" alt=\"\" width=\"1200\" height=\"1680\" class=\"size-full wp-image-13925467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/LHA-21-042-hr_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/LHA-21-042-hr_1200-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/LHA-21-042-hr_1200-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/LHA-21-042-hr_1200-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/LHA-21-042-hr_1200-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/LHA-21-042-hr_1200-1097x1536.jpg 1097w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Halsey, ‘Untitled,’ 2021. Synthetic hair on wood, 110 x 56 x 8 inches. \u003ccite>(Photo by Allen Chen; Courtesy of David Kordansky Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the last pieces I observed, this work — created with synthetic hair bundles — was literally a soft place to land. I’ve been in a space of personally expanding the colors that I wear, from clothes to jewelry to hair, in a way that feels more daring to me, yet more authentic to my true self. This piece felt like another affirmation to lean into the freedom of expression I’ve been feeling. It’s one of many freedoms that was once \u003ca href=\"https://www.vice.com/en/article/j5abvx/black-womens-hair-illegal-tignon-laws-new-orleans-louisiana\">denied to Black women\u003c/a>, as Rasheed and Breon drive home in their curators’ statement.\u003c/p>\n\u003cp>Ironically, I’ve written all this while tired and not having experienced the most restful sleep the last few weeks (deadlines, oh so many deadlines). But among the many affirmations Rasheed and Breon’s exhibition left me with was this: Just like art is a practice, so is rest. It’s a radical and necessary one, in fact. (Let the \u003ca href=\"https://thenapministry.com/\">Nap Ministry\u003c/a> say “Amen!”)\u003c/p>\n\u003cp>Now if you’ll excuse me while I rest my eyes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Resting Our Eyes,’ curated by Tahirah Rasheed and Autumn Breon, is on view at the Institute of Contemporary Art San Francisco through June 25. \u003ca href=\"https://www.icasf.org/exhibitions/3-resting-our-eyes\">www.\u003c/a>\u003ca href=\"https://www.icasf.org/exhibitions/3-resting-our-eyes\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy",
"headTitle": "Frank Moore’s Radical Portraits of Love, Lust and Pop Culture Solidify His Legacy | KQED",
"content": "\u003cp>Leave it to Bay Area legend \u003ca href=\"https://www.eroplay.com/\">Frank Moore\u003c/a> to have more breasts in his first museum exhibition than a \u003cem>Girls Gone Wild\u003c/em> VHS. One should expect no less from the exhibitionist, shaman, presidential candidate and performance artist, who passed away in 2013. His resume reads like an artistic Mad Libs in the best possible way. And his exhibition, now on display at the Berkeley Art Museum and Pacific Film Archive, conveys that warm and radical spirit through paintings sometimes delightfully imposing in scale. \u003c/p>\n\u003cp>[aside postID='arts_13835688']Part documentation of pop culture, part exploration of skin, the show isn’t a large one. But it is intimate and comforting; Moore’s paintings are neatly arranged, mainly on one wall, shirking the typical gallery experience. Titled \u003cem>\u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Theater of Human Melting\u003c/a>\u003c/em>, the show is co-curated by San Francisco sculptor \u003ca href=\"https://matthewmarks.com/artists/vincent-fecteau\">Vincent Fecteau\u003c/a> and filmmaker \u003ca href=\"https://wall-eye.com/\">Keith Wilson\u003c/a>, whose \u003ca href=\"https://wall-eye.com/Untitled-Frank-Moore-Project\">feature documentary on Frank Moore\u003c/a> is currently in production.\u003c/p>\n\u003cp>Their presentation method is purposeful. “We knew we wanted the exhibit to mimic the vibrancy and discordant nature of Frank’s own walls,” Wilson explained by email. “When hanging the show, we decided against organizing them by chronology or subject matter, and attempted to hang them in clusters that are both discordant and harmonious.”\u003c/p>\n\u003cfigure id=\"attachment_13925377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg\" alt=\"Painting of bluish face with mouth open and hand held up, red background\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Moore, ‘Batman’s Face,’ 1979; Oil on canvas, 40 x 40 inches. \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore’s paintings are aggressive, frantic portraits of love, lust and icons rounded out with titles reflecting on death and absurdity (see \u003cem>Corpse Love\u003c/em> or \u003cem>Rabbit on a Scooter\u003c/em>). He painted similarly to how he communicated with his speech board, but in place of his pointer, he strapped a paintbrush to his head. His wife, Linda Mac, would set up his paints for him and rotate each canvas when instructed. He chose to paint portraits, he says in his book \u003cem>Art of a Shaman\u003c/em>, “Because I wanted to see people nude, and touch them, and to create an intensity between us.” \u003c/p>\n\u003cp>Even though the work at BAMPFA was made between the 1960s and the early 1980s, Moore’s color choices remain fresh, balanced and striking. His work is linguistic; color choices speak to one another in juxtaposition rather than joining as one. Often not fully mixed, his brushstrokes could be seen as signs of his urgency to create. He was constantly working on something. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the most striking things about these paintings are their expressive paint handling,” Fecteau says via email. “Though they are largely representative, their goal does not seem to be perfect description. Rather they seem to be searching for something beyond the surface.” The outcome is satisfying: a response Moore might not have focused on or cared about in his other mediums. \u003c/p>\n\u003cp>Moore was very “punk” in that way. He got a lot of satisfaction out of confusing his audiences, like the time he organized a kind of happening, directing women to flirt with men in coffee shops without the context of a stage or an announced performance. In so much of his work, Moore pushed performance past its typical setting, blurring the lines between audience and actor. \u003c/p>\n\u003cfigure id=\"attachment_13925379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg\" alt=\"Gallery view with TV in front center, white man with beard and glasses open-mouth on screen\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation of ‘Frank Moore / MATRIX 280: Theater of Human Melting’ at BAMPFA with a view of Moore in the trailer for ‘Let Me Be Frank.’ \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Theater of Human Melting\u003c/em> brings together disparate images from the pop culture Moore admired, with depictions of Batman, Frankenstein and Patti Smith (he idolized punk rockers). He chose these subjects because they brought him joy. This decision to follow fulfillment was a key element of Moore’s life; one day he chose to find himself beautiful. His declaration of feeling worthy and valued moved others to see that quality in him. When the confines of society differed from his thought process, Moore turned to self-love, creating his most radical persona.\u003c/p>\n\u003cp>For Fecteau and Wilson, the process of working on this show has been deeply enmeshed with the ideas of disability aesthetics. “Disability is not something to overcome in order to make art or creative work. Disability itself is generative, producing art and ideas that would otherwise not be realized,” Wilson says. Had Moore not been who he was, Wilson adds, “these dynamic, gestural, melting paintings would not be possible.”\u003c/p>\n\u003cp>A decade after his death, Moore’s legend continues. The BAMPFA exhibit includes the trailer for a newly launched web series called \u003cem>\u003ca href=\"https://frankadelic.com/\">Let Me Be Frank\u003c/a>\u003c/em>, featuring a song with his vocals and samples of his performance pieces. If nothing else, this body of work at BAMPFA might make you feel a bit antagonized, and rightfully so. The essence of Frank Moore is that there can always be more: more creation, more exploration, more enjoyment in living life. And he’d want you to know that. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Frank Moore / MATRIX 280: Theater of Human Melting’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 23, 2023. \u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A solo exhibition at BAMPFA hints at the larger, thrilling world of multi-hyphenate artist Frank Moore.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leave it to Bay Area legend \u003ca href=\"https://www.eroplay.com/\">Frank Moore\u003c/a> to have more breasts in his first museum exhibition than a \u003cem>Girls Gone Wild\u003c/em> VHS. One should expect no less from the exhibitionist, shaman, presidential candidate and performance artist, who passed away in 2013. His resume reads like an artistic Mad Libs in the best possible way. And his exhibition, now on display at the Berkeley Art Museum and Pacific Film Archive, conveys that warm and radical spirit through paintings sometimes delightfully imposing in scale. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Part documentation of pop culture, part exploration of skin, the show isn’t a large one. But it is intimate and comforting; Moore’s paintings are neatly arranged, mainly on one wall, shirking the typical gallery experience. Titled \u003cem>\u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Theater of Human Melting\u003c/a>\u003c/em>, the show is co-curated by San Francisco sculptor \u003ca href=\"https://matthewmarks.com/artists/vincent-fecteau\">Vincent Fecteau\u003c/a> and filmmaker \u003ca href=\"https://wall-eye.com/\">Keith Wilson\u003c/a>, whose \u003ca href=\"https://wall-eye.com/Untitled-Frank-Moore-Project\">feature documentary on Frank Moore\u003c/a> is currently in production.\u003c/p>\n\u003cp>Their presentation method is purposeful. “We knew we wanted the exhibit to mimic the vibrancy and discordant nature of Frank’s own walls,” Wilson explained by email. “When hanging the show, we decided against organizing them by chronology or subject matter, and attempted to hang them in clusters that are both discordant and harmonious.”\u003c/p>\n\u003cfigure id=\"attachment_13925377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg\" alt=\"Painting of bluish face with mouth open and hand held up, red background\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Moore, ‘Batman’s Face,’ 1979; Oil on canvas, 40 x 40 inches. \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore’s paintings are aggressive, frantic portraits of love, lust and icons rounded out with titles reflecting on death and absurdity (see \u003cem>Corpse Love\u003c/em> or \u003cem>Rabbit on a Scooter\u003c/em>). He painted similarly to how he communicated with his speech board, but in place of his pointer, he strapped a paintbrush to his head. His wife, Linda Mac, would set up his paints for him and rotate each canvas when instructed. He chose to paint portraits, he says in his book \u003cem>Art of a Shaman\u003c/em>, “Because I wanted to see people nude, and touch them, and to create an intensity between us.” \u003c/p>\n\u003cp>Even though the work at BAMPFA was made between the 1960s and the early 1980s, Moore’s color choices remain fresh, balanced and striking. His work is linguistic; color choices speak to one another in juxtaposition rather than joining as one. Often not fully mixed, his brushstrokes could be seen as signs of his urgency to create. He was constantly working on something. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the most striking things about these paintings are their expressive paint handling,” Fecteau says via email. “Though they are largely representative, their goal does not seem to be perfect description. Rather they seem to be searching for something beyond the surface.” The outcome is satisfying: a response Moore might not have focused on or cared about in his other mediums. \u003c/p>\n\u003cp>Moore was very “punk” in that way. He got a lot of satisfaction out of confusing his audiences, like the time he organized a kind of happening, directing women to flirt with men in coffee shops without the context of a stage or an announced performance. In so much of his work, Moore pushed performance past its typical setting, blurring the lines between audience and actor. \u003c/p>\n\u003cfigure id=\"attachment_13925379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg\" alt=\"Gallery view with TV in front center, white man with beard and glasses open-mouth on screen\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation of ‘Frank Moore / MATRIX 280: Theater of Human Melting’ at BAMPFA with a view of Moore in the trailer for ‘Let Me Be Frank.’ \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Theater of Human Melting\u003c/em> brings together disparate images from the pop culture Moore admired, with depictions of Batman, Frankenstein and Patti Smith (he idolized punk rockers). He chose these subjects because they brought him joy. This decision to follow fulfillment was a key element of Moore’s life; one day he chose to find himself beautiful. His declaration of feeling worthy and valued moved others to see that quality in him. When the confines of society differed from his thought process, Moore turned to self-love, creating his most radical persona.\u003c/p>\n\u003cp>For Fecteau and Wilson, the process of working on this show has been deeply enmeshed with the ideas of disability aesthetics. “Disability is not something to overcome in order to make art or creative work. Disability itself is generative, producing art and ideas that would otherwise not be realized,” Wilson says. Had Moore not been who he was, Wilson adds, “these dynamic, gestural, melting paintings would not be possible.”\u003c/p>\n\u003cp>A decade after his death, Moore’s legend continues. The BAMPFA exhibit includes the trailer for a newly launched web series called \u003cem>\u003ca href=\"https://frankadelic.com/\">Let Me Be Frank\u003c/a>\u003c/em>, featuring a song with his vocals and samples of his performance pieces. If nothing else, this body of work at BAMPFA might make you feel a bit antagonized, and rightfully so. The essence of Frank Moore is that there can always be more: more creation, more exploration, more enjoyment in living life. And he’d want you to know that. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Frank Moore / MATRIX 280: Theater of Human Melting’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 23, 2023. \u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Photographer Ashley A. Ross Reflects on Her Religious Upbringing in Debut MoAD Show",
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"content": "\u003cp>Photographer \u003ca href=\"http://ashleyaross.com\">Ashley A. Ross\u003c/a> knew as early as high school that she wanted to pursue art as a career. After graduating from California College of the Arts in 2021, the Oakland artist has debuted her solo exhibition \u003cem>\u003ca href=\"https://www.moadsf.org/exhibitions/10-27-03\">10/27/03\u003c/a>\u003c/em> at the Museum of the African Diaspora – up now through March 5 – as part of their \u003ca href=\"https://www.moadsf.org/projects/emerging-artists-program\">Emerging Artists program\u003c/a>. The series of staged photographs, intermingled with documents from her personal archive, reflect on her religious upbringing as an only child in a Black, Apostolic Christian household. KQED talked with Ross about the exhibition, her craft and the ways she’s exploring her point of view as an artist.\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: Where did the concept for \u003cem>10/27/03\u003c/em> come from? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ashley A. Ross:\u003c/strong> The project began a few years ago when I came across some personal memorabilia I hadn’t seen in a while. There was a particular certificate describing “your new spiritual birthday” with the date “10/27/03” and it had scriptures on it. That sparked a lot for me because at that point in time I was in my early 20s, I was at CCA in my sophomore year. I was really searching for my calling and what I want to say with my art. It made me think about growing up in a religious environment with a specific doctrine that was heavily focused on this idea of rebirth, being “born again” and the concepts of sin and being a saint — all of these heavy concepts that we as adults still have a hard time trying to rationalize. And so it’s actually a certificate that I received when I was baptized and “born again” as a child. I pulled the name for the exhibition from that day and that certificate is actually in the show. I have a photo of me being baptized as a child, alongside portraits of my parents, portraits of this little girl who represents me as a child. And so I’m dealing with memory, the past and the present. \u003c/p>\n\u003cp>\u003cstrong>So what’s your relationship with these religious beliefs today? And what are your reflections coming out of putting the show together?\u003c/strong>\u003c/p>\n\u003cp>Right now, I don’t identify as a practicing Christian, but I think this project has been a great way for me to process these questions and these thoughts that I continue to have. People tend to have very strong opinions, either they’re against religion or really dedicated to their faith. But we don’t really talk about that in-between stage, you know, somebody who really doesn’t know, somebody who maybe has past experience with a religion and is kind of healing from that or is not far removed from that. Or somebody who is just like, “you know what? I don’t know what to think of it.” That’s what this project has meant for me, and it’s the conversation that I would like to have with other people. \u003c/p>\n\u003cfigure id=\"attachment_13925362\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200.jpg\" alt=\"Black-and-white image of a woman's figure draped in transparent fabric, standing in water\" width=\"1200\" height=\"1533\" class=\"size-full wp-image-13925362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-800x1022.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-1020x1303.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-768x981.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashely A. Ross, ‘Who’s That Young Girl Dressed in White.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you talk about the decision you made to showcase this particular work as your debut – to have portraits, staged photographs and archival material included? And what you wanted to reveal about your aesthetic as a photographer? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We have these black walls and how the lighting is situated, it really creates this intimate environment, kind of almost like you’re walking into somebody’s house, or in a silent film. A space that is very curated and intimate, which was my intention. \u003c/p>\n\u003cp>The staged black-and-white images were shot on film. There’s this technical element of analog photography that requires you to really slow down your process. With medium format, you have only 12 shots, depending on the camera — and film itself is an expensive process. So it requires you to sit and really look at what you’re trying to shoot and be precise with what each frame is going to show. So for me, that was the benefit of using the film camera and black-and-white. \u003c/p>\n\u003cp>As I mentioned, my parents are included in the exhibition and that allowed me time to sit and talk with them as I’m photographing them. The little girl who represents me in that photograph is my little cousin. I used her as my model. Even spending time with her — which, she did an excellent job — allowed me to really look at my surroundings, like, how is this going to aid the project? So I think it has been a foundation for what I hope my visual esthetic continues to be. \u003c/p>\n\u003cp>\u003cstrong>How do you envision your work going forward and what themes are you excited to explore?\u003c/strong>\u003c/p>\n\u003cp>I’ve been thinking a lot about labor and ideas around capitalism. More specifically, Black labor and that history within this country. Honestly, our current climate right now, economically and socially, has really inspired a lot of these questions I’ve been having about labor, the workforce, you know, how we value other human beings and what they contribute to society. \u003c/p>\n\u003cp>And as an artist, I feel like I’m in a kind of transitional stage right now. Like, what is my art practice right now? What do I want it to be? I’m definitely looking for my practice to be more interdisciplinary. I would love photography to be the foundation and the basis of my visual esthetic. But I would love to get into sculpture and installation. \u003ca href=\"https://www.theastergates.com/\">Theaster Gates\u003c/a> is an artist I really admire — how he creates sustainable ecosystems for people to be part of a community and communicate with each other. So I’m moving towards really creating experiences for when people come into a space, the exhibition is evolving. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘10/27/03’ is on view at the Museum of the African Diaspora in San Francisco through March 5. \u003ca href=\"https://www.moadsf.org/exhibitions/10-27-03\">Exhibition details here\u003c/a>. An in-person artist talk and reception takes place at the museum Saturday, March 4, 3–4 p.m. \u003ca href=\"https://www.moadsf.org/event/artist-talk-reception-emerging-artist-program-presents-ashley-a-ross-10-27-03\">Register to attend here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer \u003ca href=\"http://ashleyaross.com\">Ashley A. Ross\u003c/a> knew as early as high school that she wanted to pursue art as a career. After graduating from California College of the Arts in 2021, the Oakland artist has debuted her solo exhibition \u003cem>\u003ca href=\"https://www.moadsf.org/exhibitions/10-27-03\">10/27/03\u003c/a>\u003c/em> at the Museum of the African Diaspora – up now through March 5 – as part of their \u003ca href=\"https://www.moadsf.org/projects/emerging-artists-program\">Emerging Artists program\u003c/a>. The series of staged photographs, intermingled with documents from her personal archive, reflect on her religious upbringing as an only child in a Black, Apostolic Christian household. KQED talked with Ross about the exhibition, her craft and the ways she’s exploring her point of view as an artist.\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: Where did the concept for \u003cem>10/27/03\u003c/em> come from? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ashley A. Ross:\u003c/strong> The project began a few years ago when I came across some personal memorabilia I hadn’t seen in a while. There was a particular certificate describing “your new spiritual birthday” with the date “10/27/03” and it had scriptures on it. That sparked a lot for me because at that point in time I was in my early 20s, I was at CCA in my sophomore year. I was really searching for my calling and what I want to say with my art. It made me think about growing up in a religious environment with a specific doctrine that was heavily focused on this idea of rebirth, being “born again” and the concepts of sin and being a saint — all of these heavy concepts that we as adults still have a hard time trying to rationalize. And so it’s actually a certificate that I received when I was baptized and “born again” as a child. I pulled the name for the exhibition from that day and that certificate is actually in the show. I have a photo of me being baptized as a child, alongside portraits of my parents, portraits of this little girl who represents me as a child. And so I’m dealing with memory, the past and the present. \u003c/p>\n\u003cp>\u003cstrong>So what’s your relationship with these religious beliefs today? And what are your reflections coming out of putting the show together?\u003c/strong>\u003c/p>\n\u003cp>Right now, I don’t identify as a practicing Christian, but I think this project has been a great way for me to process these questions and these thoughts that I continue to have. People tend to have very strong opinions, either they’re against religion or really dedicated to their faith. But we don’t really talk about that in-between stage, you know, somebody who really doesn’t know, somebody who maybe has past experience with a religion and is kind of healing from that or is not far removed from that. Or somebody who is just like, “you know what? I don’t know what to think of it.” That’s what this project has meant for me, and it’s the conversation that I would like to have with other people. \u003c/p>\n\u003cfigure id=\"attachment_13925362\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200.jpg\" alt=\"Black-and-white image of a woman's figure draped in transparent fabric, standing in water\" width=\"1200\" height=\"1533\" class=\"size-full wp-image-13925362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-800x1022.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-1020x1303.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-768x981.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashely A. Ross, ‘Who’s That Young Girl Dressed in White.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you talk about the decision you made to showcase this particular work as your debut – to have portraits, staged photographs and archival material included? And what you wanted to reveal about your aesthetic as a photographer? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We have these black walls and how the lighting is situated, it really creates this intimate environment, kind of almost like you’re walking into somebody’s house, or in a silent film. A space that is very curated and intimate, which was my intention. \u003c/p>\n\u003cp>The staged black-and-white images were shot on film. There’s this technical element of analog photography that requires you to really slow down your process. With medium format, you have only 12 shots, depending on the camera — and film itself is an expensive process. So it requires you to sit and really look at what you’re trying to shoot and be precise with what each frame is going to show. So for me, that was the benefit of using the film camera and black-and-white. \u003c/p>\n\u003cp>As I mentioned, my parents are included in the exhibition and that allowed me time to sit and talk with them as I’m photographing them. The little girl who represents me in that photograph is my little cousin. I used her as my model. Even spending time with her — which, she did an excellent job — allowed me to really look at my surroundings, like, how is this going to aid the project? So I think it has been a foundation for what I hope my visual esthetic continues to be. \u003c/p>\n\u003cp>\u003cstrong>How do you envision your work going forward and what themes are you excited to explore?\u003c/strong>\u003c/p>\n\u003cp>I’ve been thinking a lot about labor and ideas around capitalism. More specifically, Black labor and that history within this country. Honestly, our current climate right now, economically and socially, has really inspired a lot of these questions I’ve been having about labor, the workforce, you know, how we value other human beings and what they contribute to society. \u003c/p>\n\u003cp>And as an artist, I feel like I’m in a kind of transitional stage right now. Like, what is my art practice right now? What do I want it to be? I’m definitely looking for my practice to be more interdisciplinary. I would love photography to be the foundation and the basis of my visual esthetic. But I would love to get into sculpture and installation. \u003ca href=\"https://www.theastergates.com/\">Theaster Gates\u003c/a> is an artist I really admire — how he creates sustainable ecosystems for people to be part of a community and communicate with each other. So I’m moving towards really creating experiences for when people come into a space, the exhibition is evolving. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘10/27/03’ is on view at the Museum of the African Diaspora in San Francisco through March 5. \u003ca href=\"https://www.moadsf.org/exhibitions/10-27-03\">Exhibition details here\u003c/a>. An in-person artist talk and reception takes place at the museum Saturday, March 4, 3–4 p.m. \u003ca href=\"https://www.moadsf.org/event/artist-talk-reception-emerging-artist-program-presents-ashley-a-ross-10-27-03\">Register to attend here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In a San Francisco Bell Tower, SFAI’s Archive Prepares for a Big Move",
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"headTitle": "In a San Francisco Bell Tower, SFAI’s Archive Prepares for a Big Move | KQED",
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"content": "\u003cp>[dropcap]I[/dropcap]t’s been very quiet on the San Francisco Art Institute campus since the school \u003ca href=\"https://www.kqed.org/arts/13916517/sfai-closed-students-for-action-usf-aquisition\">closed its doors behind its last graduating class\u003c/a> on July 15, 2022. Except for a security guard, archivists Jeff Gunderson and Becky Alexander are the only regular visitors to 800 Chestnut St. Even the fountain’s turtles have been relocated to the Sonoma County Reptile Rescue.\u003c/p>\n\u003cp>[aside postID='arts_13916517']But that stillness belies the major work taking place behind the scenes, in Zoom meetings and over email, to create a brand new and financially separate nonprofit institution known as the \u003ca href=\"https://www.sfailegacyarchive.org/\">SFAI Legacy Foundation + Archive\u003c/a>. While the school wobbles at the edge of seemingly inevitable bankruptcy proceedings, the newly formed legacy foundation aims to shepherd SFAI’s tangible history into a safe, stable and publicly accessible future. \u003c/p>\n\u003cp>“The scenario that led SFAI to not be in the business of providing education … became the opportunity for us to do something which I think would be profoundly important even if they were still providing education,” says Charles DeSantis, legacy foundation president and board chair. He is joined by Gale Elston, a New York-based lawyer with a background in artists’ rights, and Katie Hood Morgan, the former \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">curator of exhibitions and public programs at SFAI\u003c/a>, now an independent curator.\u003c/p>\n\u003cp>DeSantis, the chief benefits officer and associate vice president for benefits and wellness at Georgetown University, also attended SFAI for what he calls his “self-appointed post-baccalaureate program” in the early 2000s, connecting deeply with the faculty, campus and student body. Elston has worked with SFAI-connected artists and used to live a few blocks from the school. \u003c/p>\n\u003cfigure id=\"attachment_13925091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Empty Italianate courtyard with trees, fountain and shadows\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piles of scattered leaves cover the brick ground of the courtyard of the San Francisco Art Institute in on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their connections, all three founding board members are new to leadership positions at the school. This was purposeful. After the tumult of the past three years, the legacy foundation needed to be completely separate from SFAI’s administration, board and even the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\">Reimagine Committee\u003c/a>, a group of alumni, staff and faculty who met for six months in 2020 and early 2021 to propose a radically different SFAI.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the listening tours that current SFAI board chair Lonnie Graham and vice chair John Marx undertook following the departure of embattled board chair Pam Rorke Levy, Marx says the issue of the archive kept coming up.\u003c/p>\n\u003cp>“This came from the community,” he says. “Every time we’d have a meeting, it’s like, ‘Well, if you go bankrupt, how are we going to protect the archive? How are we going to protect the spirit of the school?’”\u003c/p>\n\u003cfigure id=\"attachment_13925092\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200.jpg\" alt=\"Booklet cover with text over black and white photograph of students playing basketball on brutalist campus\" width=\"1200\" height=\"1837\" class=\"size-full wp-image-13925092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-800x1225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-1020x1561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-768x1176.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-1003x1536.jpg 1003w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 1973–1974 catalog advertising courses at SFAI. \u003ccite>(Courtesy the SFAI Legacy Archive + Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What the archive is\u003c/h2>\n\u003cp>The archive is expansive. Currently housed in the Anne Bremer Memorial Library and within three chilly, musty rooms in the school’s bell-less bell tower, it contains 550 linear feet of archival records from the school’s 152-year history. These include manuscripts, account books, minutes of meetings, photographs, blueprints, broadsides, ephemera, and audio and video recordings. Organization ranges from donations labeled “not yet looked through” to hyper-specific collections in acid-free boxes. \u003c/p>\n\u003cp>A sampling: a 1978 advertisement for SFAI’s summer session, featuring a “Non-Sculpture” class with Paul Kos; 1878 board minutes approving Eadweard Muybridge’s use of rooms for “the exhibition of his photographs of trotting horses”; a collection of student newspapers and periodicals, including \u003ci>The Philistine\u003c/i> (1992–1996); documents relating to the Montalvo estate in Saratoga, which SFAI once owned (!); and a well-organized section on parties thrown between 1904 and 1976. There’s even an ever-popular ghost file, which includes documentation of several visits from ghost hunters seeking out the spirit who supposedly haunts SFAI’s tower. \u003c/p>\n\u003cp>As archivist Gunderson says, “No one ever threw anything away here, you know? And the last time it really burned up was in 1906. So there’s a lot of stuff.”\u003c/p>\n\u003cfigure id=\"attachment_13925094\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Shadows fall across pages of handwritten text in elegant cursive\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A board of directors meeting log from 1878 sits open to a page that mentions Eadweard Muybridge, known for his photographic studies of motion of humans and animals, at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In November 2022, SFAI’s archive officially transferred to the newly formed legacy foundation, and with it the right to administer a 2022 National Endowment for the Humanities grant. This $234,820 award will pay for Gunderson and Alexander’s labor and materials as they arrange, describe and rehouse the materials. For while the archive has always been open to researchers, the grant application points out, informing dozens of books, articles, exhibitions, films, lectures and courses, “it has never been as accessible or discoverable as its historical value demands.”\u003c/p>\n\u003cp>[aside postID='arts_13889433']Caring for the archive in this way is also a matter of equity. Instead of just the “greatest hits,” this project will allow lesser-known stories and new voices to emerge in the school’s history. “We’ll be looking at everything at least a little bit and have a chance to see what has been buried in there, which is very cool,” Alexander explains. Eventually, all the descriptions and finding aids will be available via the \u003ca href=\"https://oac.cdlib.org/\">Online Archive of California\u003c/a>. “It’ll be just a lot more easy to find what you might not even have known you were looking for,” she adds.\u003c/p>\n\u003cp>In the immediate, the legacy foundation’s goal is to raise enough funds — DeSantis says “at least $100,000” — to rent space to house the archives, and where Gunderson and Alexander can start their work. If they can raise $250,000, DeSantis says, all the better. That would guarantee a bit of stability. The legacy foundation is looking for a minimum of 650 square feet in San Francisco, though the long-term goal is to house the archive somewhere larger, where the public could visit and programming could take place.\u003c/p>\n\u003cp>In true SFAI fashion, the deadline for when the archive must leave campus is uncertain, as is the very future of 800 Chestnut St. \u003c/p>\n\u003cfigure id=\"attachment_13925095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Looking down on dimly lit space with empty work tables\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ceramics studio sits empty at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What the archive is not\u003c/h2>\n\u003cp>There are many things the archive is not: the Diego Rivera mural, the circulating books in the library, the studio equipment and the campus itself. The archive is not an educational institution. In fact, so long as SFAI, “the school,” exists in some form, the legacy foundation cannot offer instruction. Improbably, half a year after the proposed merger with USF fell through, SFAI “the school” endures, paying rent to the UC Regents. \u003c/p>\n\u003cp>Will SFAI have to declare bankruptcy? Marx says that is “the interesting question with no easy answer.” SFAI and the UC Regents, who now own 800 Chestnut St., are in negotiations with developers about a possible sale. Reasonable uses of the property could include education, housing or a hotel.\u003c/p>\n\u003cp>“But ultimately,” Marx explains, “the long-term success of SFAI and the ability to reemerge as a school of fine arts is dependent on being able to sell the mural.” Marx says that buyer would have to guarantee Rivera’s \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> remains publicly accessible, in situ. \u003c/p>\n\u003cfigure id=\"attachment_13925093\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Giant colorful mural lit by only skylight in otherwise empty room\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The walls in the Diego Rivera Gallery sit empty except for Diego Rivera’s mural, ‘The Making of a Fresco Showing the Building of a City,’ from 1931, at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complicating this potential sale is the fact that SFAI no longer owns the gallery the mural exists within — the UC Regents do. In one dream scenario, a museum could buy the Rivera and establish a satellite gallery with an easement of sorts; SFAI might reemerge with a smaller footprint, perhaps just as a graduate program. \u003c/p>\n\u003cp>“We are definitely aggressively pursuing every opportunity that we still have relative to restarting the school,” Marx says. Even so, if the school loses all its assets and emerges with something like $5 million, that’s not enough to move forward. In that scenario, SFAI “the school” would pay the faculty and staff additional severance and close for good.[pullquote size='medium' align='right' citation='Becky Alexander, Archivist']‘We don’t want to be the ghosts.’[/pullquote] \u003c/p>\n\u003cp>“The goal is to restart it, not to just have it linger on in some sort of near-death experience,” Marx explains.\u003c/p>\n\u003ch2>The archive leaves SFAI\u003c/h2>\n\u003cp>For nearly 100 years, the archive has been part of the campus architecture. It lines the staircase of the bell tower, taking up nearly every available nook and cranny. Removing the material from the school will be “wrenching,” Alexander says. But at the same time, maybe it’s for the best. “We don’t want to be the ghosts,” she adds.\u003c/p>\n\u003cp>On a recent visit to SFAI, Gunderson toured me around the archive and through the empty school. Leaves had blown down hallways and into studios. A succulent grew out of a once heavily trafficked concrete step. There was a bit of a stench in the sculpture pit, where the drains used to get flushed out on a regular basis. \u003c/p>\n\u003cfigure id=\"attachment_13925099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Cast plaster statue of Tweety bird sit inside ajar locker\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925099\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sculpture sits in an open locker at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the creative energy that used to fill those spaces is now dispersed among the SFAI’s former staff, faculty, students and fans. The school’s \u003ca href=\"https://www.sfartistsalumni.org/\">alumni group\u003c/a>, in particular, has worked hard to keep those connections alive. That’s where the SFAI Legacy Archive + Foundation can act as a destination, and what makes its board hopeful for success.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There’s so much desire to help and chip in and really contribute to something positive related to the school,” Morgan says of their bet on the next 152 years. “I think people have been looking for that, hoping for that, like a ray of light of some kind.”\u003c/p>\n\n",
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"title": "SFAI’s Archive Will Split From School to Protect Its Legacy | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t’s been very quiet on the San Francisco Art Institute campus since the school \u003ca href=\"https://www.kqed.org/arts/13916517/sfai-closed-students-for-action-usf-aquisition\">closed its doors behind its last graduating class\u003c/a> on July 15, 2022. Except for a security guard, archivists Jeff Gunderson and Becky Alexander are the only regular visitors to 800 Chestnut St. Even the fountain’s turtles have been relocated to the Sonoma County Reptile Rescue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But that stillness belies the major work taking place behind the scenes, in Zoom meetings and over email, to create a brand new and financially separate nonprofit institution known as the \u003ca href=\"https://www.sfailegacyarchive.org/\">SFAI Legacy Foundation + Archive\u003c/a>. While the school wobbles at the edge of seemingly inevitable bankruptcy proceedings, the newly formed legacy foundation aims to shepherd SFAI’s tangible history into a safe, stable and publicly accessible future. \u003c/p>\n\u003cp>“The scenario that led SFAI to not be in the business of providing education … became the opportunity for us to do something which I think would be profoundly important even if they were still providing education,” says Charles DeSantis, legacy foundation president and board chair. He is joined by Gale Elston, a New York-based lawyer with a background in artists’ rights, and Katie Hood Morgan, the former \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">curator of exhibitions and public programs at SFAI\u003c/a>, now an independent curator.\u003c/p>\n\u003cp>DeSantis, the chief benefits officer and associate vice president for benefits and wellness at Georgetown University, also attended SFAI for what he calls his “self-appointed post-baccalaureate program” in the early 2000s, connecting deeply with the faculty, campus and student body. Elston has worked with SFAI-connected artists and used to live a few blocks from the school. \u003c/p>\n\u003cfigure id=\"attachment_13925091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Empty Italianate courtyard with trees, fountain and shadows\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/005_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piles of scattered leaves cover the brick ground of the courtyard of the San Francisco Art Institute in on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their connections, all three founding board members are new to leadership positions at the school. This was purposeful. After the tumult of the past three years, the legacy foundation needed to be completely separate from SFAI’s administration, board and even the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\">Reimagine Committee\u003c/a>, a group of alumni, staff and faculty who met for six months in 2020 and early 2021 to propose a radically different SFAI.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the listening tours that current SFAI board chair Lonnie Graham and vice chair John Marx undertook following the departure of embattled board chair Pam Rorke Levy, Marx says the issue of the archive kept coming up.\u003c/p>\n\u003cp>“This came from the community,” he says. “Every time we’d have a meeting, it’s like, ‘Well, if you go bankrupt, how are we going to protect the archive? How are we going to protect the spirit of the school?’”\u003c/p>\n\u003cfigure id=\"attachment_13925092\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200.jpg\" alt=\"Booklet cover with text over black and white photograph of students playing basketball on brutalist campus\" width=\"1200\" height=\"1837\" class=\"size-full wp-image-13925092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-800x1225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-1020x1561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-768x1176.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/1973-1974-SFAI-College-Catalog-with-Basketball_1200-1003x1536.jpg 1003w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 1973–1974 catalog advertising courses at SFAI. \u003ccite>(Courtesy the SFAI Legacy Archive + Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What the archive is\u003c/h2>\n\u003cp>The archive is expansive. Currently housed in the Anne Bremer Memorial Library and within three chilly, musty rooms in the school’s bell-less bell tower, it contains 550 linear feet of archival records from the school’s 152-year history. These include manuscripts, account books, minutes of meetings, photographs, blueprints, broadsides, ephemera, and audio and video recordings. Organization ranges from donations labeled “not yet looked through” to hyper-specific collections in acid-free boxes. \u003c/p>\n\u003cp>A sampling: a 1978 advertisement for SFAI’s summer session, featuring a “Non-Sculpture” class with Paul Kos; 1878 board minutes approving Eadweard Muybridge’s use of rooms for “the exhibition of his photographs of trotting horses”; a collection of student newspapers and periodicals, including \u003ci>The Philistine\u003c/i> (1992–1996); documents relating to the Montalvo estate in Saratoga, which SFAI once owned (!); and a well-organized section on parties thrown between 1904 and 1976. There’s even an ever-popular ghost file, which includes documentation of several visits from ghost hunters seeking out the spirit who supposedly haunts SFAI’s tower. \u003c/p>\n\u003cp>As archivist Gunderson says, “No one ever threw anything away here, you know? And the last time it really burned up was in 1906. So there’s a lot of stuff.”\u003c/p>\n\u003cfigure id=\"attachment_13925094\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Shadows fall across pages of handwritten text in elegant cursive\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/025_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A board of directors meeting log from 1878 sits open to a page that mentions Eadweard Muybridge, known for his photographic studies of motion of humans and animals, at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In November 2022, SFAI’s archive officially transferred to the newly formed legacy foundation, and with it the right to administer a 2022 National Endowment for the Humanities grant. This $234,820 award will pay for Gunderson and Alexander’s labor and materials as they arrange, describe and rehouse the materials. For while the archive has always been open to researchers, the grant application points out, informing dozens of books, articles, exhibitions, films, lectures and courses, “it has never been as accessible or discoverable as its historical value demands.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Caring for the archive in this way is also a matter of equity. Instead of just the “greatest hits,” this project will allow lesser-known stories and new voices to emerge in the school’s history. “We’ll be looking at everything at least a little bit and have a chance to see what has been buried in there, which is very cool,” Alexander explains. Eventually, all the descriptions and finding aids will be available via the \u003ca href=\"https://oac.cdlib.org/\">Online Archive of California\u003c/a>. “It’ll be just a lot more easy to find what you might not even have known you were looking for,” she adds.\u003c/p>\n\u003cp>In the immediate, the legacy foundation’s goal is to raise enough funds — DeSantis says “at least $100,000” — to rent space to house the archives, and where Gunderson and Alexander can start their work. If they can raise $250,000, DeSantis says, all the better. That would guarantee a bit of stability. The legacy foundation is looking for a minimum of 650 square feet in San Francisco, though the long-term goal is to house the archive somewhere larger, where the public could visit and programming could take place.\u003c/p>\n\u003cp>In true SFAI fashion, the deadline for when the archive must leave campus is uncertain, as is the very future of 800 Chestnut St. \u003c/p>\n\u003cfigure id=\"attachment_13925095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Looking down on dimly lit space with empty work tables\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/052_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ceramics studio sits empty at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What the archive is not\u003c/h2>\n\u003cp>There are many things the archive is not: the Diego Rivera mural, the circulating books in the library, the studio equipment and the campus itself. The archive is not an educational institution. In fact, so long as SFAI, “the school,” exists in some form, the legacy foundation cannot offer instruction. Improbably, half a year after the proposed merger with USF fell through, SFAI “the school” endures, paying rent to the UC Regents. \u003c/p>\n\u003cp>Will SFAI have to declare bankruptcy? Marx says that is “the interesting question with no easy answer.” SFAI and the UC Regents, who now own 800 Chestnut St., are in negotiations with developers about a possible sale. Reasonable uses of the property could include education, housing or a hotel.\u003c/p>\n\u003cp>“But ultimately,” Marx explains, “the long-term success of SFAI and the ability to reemerge as a school of fine arts is dependent on being able to sell the mural.” Marx says that buyer would have to guarantee Rivera’s \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> remains publicly accessible, in situ. \u003c/p>\n\u003cfigure id=\"attachment_13925093\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Giant colorful mural lit by only skylight in otherwise empty room\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/003_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The walls in the Diego Rivera Gallery sit empty except for Diego Rivera’s mural, ‘The Making of a Fresco Showing the Building of a City,’ from 1931, at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complicating this potential sale is the fact that SFAI no longer owns the gallery the mural exists within — the UC Regents do. In one dream scenario, a museum could buy the Rivera and establish a satellite gallery with an easement of sorts; SFAI might reemerge with a smaller footprint, perhaps just as a graduate program. \u003c/p>\n\u003cp>“We are definitely aggressively pursuing every opportunity that we still have relative to restarting the school,” Marx says. Even so, if the school loses all its assets and emerges with something like $5 million, that’s not enough to move forward. In that scenario, SFAI “the school” would pay the faculty and staff additional severance and close for good.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>“The goal is to restart it, not to just have it linger on in some sort of near-death experience,” Marx explains.\u003c/p>\n\u003ch2>The archive leaves SFAI\u003c/h2>\n\u003cp>For nearly 100 years, the archive has been part of the campus architecture. It lines the staircase of the bell tower, taking up nearly every available nook and cranny. Removing the material from the school will be “wrenching,” Alexander says. But at the same time, maybe it’s for the best. “We don’t want to be the ghosts,” she adds.\u003c/p>\n\u003cp>On a recent visit to SFAI, Gunderson toured me around the archive and through the empty school. Leaves had blown down hallways and into studios. A succulent grew out of a once heavily trafficked concrete step. There was a bit of a stench in the sculpture pit, where the drains used to get flushed out on a regular basis. \u003c/p>\n\u003cfigure id=\"attachment_13925099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023.jpg\" alt=\"Cast plaster statue of Tweety bird sit inside ajar locker\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925099\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/058_KQEDArts_SanFranciscoArtInstitute_02012023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sculpture sits in an open locker at the San Francisco Art Institute on Feb. 1, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the creative energy that used to fill those spaces is now dispersed among the SFAI’s former staff, faculty, students and fans. The school’s \u003ca href=\"https://www.sfartistsalumni.org/\">alumni group\u003c/a>, in particular, has worked hard to keep those connections alive. That’s where the SFAI Legacy Archive + Foundation can act as a destination, and what makes its board hopeful for success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s so much desire to help and chip in and really contribute to something positive related to the school,” Morgan says of their bet on the next 152 years. “I think people have been looking for that, hoping for that, like a ray of light of some kind.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Rolls and Tubes Collective, Toilet Paper Became a Creative Medium During Pandemic",
"headTitle": "For Rolls and Tubes Collective, Toilet Paper Became a Creative Medium During Pandemic | KQED",
"content": "\u003cp>I was scrolling Instagram as I worked on the first draft of this review (don’t judge) when a post from \u003ca href=\"https://www.instagram.com/p/CoWCvVYOc06/?hl=en\">@vodkalana\u003c/a> presented itself as the (chef’s kiss) perfect introduction. In one shared meme, she summarized quarantine and its after-effects: “Joe Exotic, banana bread, and fist fights over toilet paper.”\u003c/p>\n\u003cp>Thankfully, we’re well past that final phase. While the supply-chain issues aren’t completely resolved, we’re closer to life before the pandemic than we ever have been. Moving forward, though, may require that we take deeper stock of the earliest worry-filled pandemic days. \u003c/p>\n\u003cp>The latest exhibition at Noe Valley’s \u003ca href=\"https://www.chung24gallery.com/\">Chung 24 Gallery\u003c/a> presents the work of four Bay Area artists who navigated that fraught moment through humor, mutual support and creative challenges responding to the history of photography.\u003c/p>\n\u003cfigure id=\"attachment_13925030\" class=\"wp-caption aligncenter\" style=\"max-width: 1928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Sampson_Kruger-scaled.jpg\" alt=\"Close-up image of Donald Trumps face with white text on red block reading 'LOSER' over his nose\" width=\"1928\" height=\"2560\" class=\"size-full wp-image-13925030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-scaled.jpg 1928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1157x1536.jpg 1157w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1542x2048.jpg 1542w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1920x2550.jpg 1920w\" sizes=\"(max-width: 1928px) 100vw, 1928px\">\u003cfigcaption class=\"wp-caption-text\">Jenny Sampson, ‘Loser,’ 2020; after Barbara Kruger for New York Magazine, 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://rollsandtubes.com/home.html\">Rolls and Tubes Collective\u003c/a> — Christy McDonald, Colleen Mullins, Jenny Sampson and Nicole White — started as a monthly critique group in early 2020. After one in-person meeting, the group pivoted to virtual gatherings and, given the quarantine context, struggled to produce meaningful work. One member posed a challenge: using toilet paper, recreate any image from the history of photography in two hours. The prompt supplied the artists with purpose and unanticipated joy, two forces that many of us gravely struggled to muster as the weeks and months dragged on.\u003c/p>\n\u003cp>The exhibition’s title, \u003ci>A History of Photography\u003c/i>, may set audience expectations of seeing black-and-white photographs reinterpreted. While the bulk of the compositions fall into that category, pieces recalling significant color images are also present. If curious about the source material, visitors are invited to scan QR codes provided by gallerist Diane Chung that link to the 31 exhibited photographs, which cover the medium’s sprawling 184-year history. It’s an elegant, context-setting solution. Rolls and Tubes Collective’s unique compositions stand on their own creative ground, without burdensome side-by-side comparisons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Representing the medium’s contemporary and mixed media history, Jenny Sampson’s \u003ci>Loser\u003c/i> riffs on artist Barbara Kruger’s 2017 \u003ca href=\"https://nymag.com/press/2016/10/cover-donald-trump-by-barbara-kruger-for-the-election-issue.html\">\u003ci>New York Magazine\u003c/i>\u003c/a> cover that foretold former President Trump’s disastrous tenure and his paramount failure: comprehending the grave existential threat COVID-19 posed. \u003c/p>\n\u003cfigure id=\"attachment_13925031\" class=\"wp-caption aligncenter\" style=\"max-width: 2094px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/White_Outerbridge-scaled.jpg\" alt=\"White hand with red nails touches unrolled toilet paper among cut-outs of red roses on teal background\" width=\"2094\" height=\"2560\" class=\"size-full wp-image-13925031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-scaled.jpg 2094w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-800x978.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1020x1247.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-768x939.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1257x1536.jpg 1257w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1676x2048.jpg 1676w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1920x2347.jpg 1920w\" sizes=\"(max-width: 2094px) 100vw, 2094px\">\u003cfigcaption class=\"wp-caption-text\">Nicole White, ‘Advertisement,’ 2020, after Paul Outerbridge Jr., ‘Advertisement,’ 1938. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nicole White’s \u003ci>Advertisement\u003c/i> — the only piece that draws on source material that includes toilet paper — mirrors Paul Outerbridge Jr.’s image for a 1936 Scott Paper Company campaign. Positioned against a vibrant teal backdrop and a bed of red rose blossoms, a perfectly manicured hand gestures to the toilet paper rolls in both photographs. Together, they illustrate performative mid-century ideas of domesticity and femininity, and how profoundly advertising still shapes the contours of life in wealthy, commodity-driven Western countries.\u003c/p>\n\u003cp>In \u003ci>Charmin, San Francisco\u003c/i>, after Harry Callahan’s \u003ci>Eleanor, Chicago\u003c/i> (1947), Colleen Mullins interpreted Callahan’s loving portrait of his wife’s derriere as twin stacks of toilet paper. Mullins’ composition is one of many in this installation that remind me how formally powerful photographs can be. Perhaps inadvertently, the image references the intended use of toilet paper. \u003c/p>\n\u003cfigure id=\"attachment_13925033\" class=\"wp-caption aligncenter\" style=\"max-width: 1724px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/White_Pierson-scaled.jpg\" alt=\"Black-and-white image of person looking through cut-out paper, wrapped in sheet\" width=\"1724\" height=\"2560\" class=\"size-full wp-image-13925033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-scaled.jpg 1724w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-800x1188.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1020x1515.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-768x1140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1034x1536.jpg 1034w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1379x2048.jpg 1379w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1920x2851.jpg 1920w\" sizes=\"(max-width: 1724px) 100vw, 1724px\">\u003cfigcaption class=\"wp-caption-text\">Nicole White, ‘Shelter-in-Place Official Portrait,’ 2020; after Pierre-Louis Pierson, ‘Scherzo di Follia,’ 1863/66. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As curator Corey Keller wrote in her brilliant catalog essay, “commonplace and scarce, virginally blank and ultimately scatological, toilet paper embraces a surprising range of contradictions.” \u003ci>San Francisco\u003c/i>, Christy McDonald’s interpretation of Josef Koudelka’s potent 1968 image \u003ci>Prague\u003c/i>, pleasantly raised the hairs on my arms. McDonald photographed herself, or someone else, wearing a watch and holding a fluttering toilet paper roll with a view of the Transamerica Pyramid in the background. In Koudelka’s iconic scene, we witness an eerie calm before the Soviets invade and violently subdue the Prague Spring resistance movement. McDonald’s view of a formerly bustling North Beach street is likewise unsettling, recalling how empty San Francisco and other urban centers felt.\u003c/p>\n\u003cp>Watching the artists and excited guests step into Chung 24 Gallery for the opening reception on a recent rainy Saturday afternoon, the anxiety that I and many of us once felt about quarantine isolation started to ease. Instead, I felt a warm and abiding appreciation for the extraordinary professional community that surrounded me, the Rolls and Tubes Collective artists included. \u003c/p>\n\u003cp>If the smiles of recognition and reunion led to talk of Joe Exotic or making bread or sourcing toilet paper, I don’t know. It doesn’t matter. Rolls and Tubes Collective’s \u003ci>A History of Photography\u003c/i> invites their community to marvel at a project that began as a way to defeat creative block, and transformed into an appreciation of photographic history through loving homage.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Rolls and Tubes Collective’s ‘A History of Photography’ is on view at Chung 24 Gallery (4071 24th St., San Francisco) through March 11. \u003ca href=\"https://www.chung24gallery.com/current-exhibition\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was scrolling Instagram as I worked on the first draft of this review (don’t judge) when a post from \u003ca href=\"https://www.instagram.com/p/CoWCvVYOc06/?hl=en\">@vodkalana\u003c/a> presented itself as the (chef’s kiss) perfect introduction. In one shared meme, she summarized quarantine and its after-effects: “Joe Exotic, banana bread, and fist fights over toilet paper.”\u003c/p>\n\u003cp>Thankfully, we’re well past that final phase. While the supply-chain issues aren’t completely resolved, we’re closer to life before the pandemic than we ever have been. Moving forward, though, may require that we take deeper stock of the earliest worry-filled pandemic days. \u003c/p>\n\u003cp>The latest exhibition at Noe Valley’s \u003ca href=\"https://www.chung24gallery.com/\">Chung 24 Gallery\u003c/a> presents the work of four Bay Area artists who navigated that fraught moment through humor, mutual support and creative challenges responding to the history of photography.\u003c/p>\n\u003cfigure id=\"attachment_13925030\" class=\"wp-caption aligncenter\" style=\"max-width: 1928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Sampson_Kruger-scaled.jpg\" alt=\"Close-up image of Donald Trumps face with white text on red block reading 'LOSER' over his nose\" width=\"1928\" height=\"2560\" class=\"size-full wp-image-13925030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-scaled.jpg 1928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1157x1536.jpg 1157w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1542x2048.jpg 1542w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1920x2550.jpg 1920w\" sizes=\"(max-width: 1928px) 100vw, 1928px\">\u003cfigcaption class=\"wp-caption-text\">Jenny Sampson, ‘Loser,’ 2020; after Barbara Kruger for New York Magazine, 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://rollsandtubes.com/home.html\">Rolls and Tubes Collective\u003c/a> — Christy McDonald, Colleen Mullins, Jenny Sampson and Nicole White — started as a monthly critique group in early 2020. After one in-person meeting, the group pivoted to virtual gatherings and, given the quarantine context, struggled to produce meaningful work. One member posed a challenge: using toilet paper, recreate any image from the history of photography in two hours. The prompt supplied the artists with purpose and unanticipated joy, two forces that many of us gravely struggled to muster as the weeks and months dragged on.\u003c/p>\n\u003cp>The exhibition’s title, \u003ci>A History of Photography\u003c/i>, may set audience expectations of seeing black-and-white photographs reinterpreted. While the bulk of the compositions fall into that category, pieces recalling significant color images are also present. If curious about the source material, visitors are invited to scan QR codes provided by gallerist Diane Chung that link to the 31 exhibited photographs, which cover the medium’s sprawling 184-year history. It’s an elegant, context-setting solution. Rolls and Tubes Collective’s unique compositions stand on their own creative ground, without burdensome side-by-side comparisons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Representing the medium’s contemporary and mixed media history, Jenny Sampson’s \u003ci>Loser\u003c/i> riffs on artist Barbara Kruger’s 2017 \u003ca href=\"https://nymag.com/press/2016/10/cover-donald-trump-by-barbara-kruger-for-the-election-issue.html\">\u003ci>New York Magazine\u003c/i>\u003c/a> cover that foretold former President Trump’s disastrous tenure and his paramount failure: comprehending the grave existential threat COVID-19 posed. \u003c/p>\n\u003cfigure id=\"attachment_13925031\" class=\"wp-caption aligncenter\" style=\"max-width: 2094px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/White_Outerbridge-scaled.jpg\" alt=\"White hand with red nails touches unrolled toilet paper among cut-outs of red roses on teal background\" width=\"2094\" height=\"2560\" class=\"size-full wp-image-13925031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-scaled.jpg 2094w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-800x978.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1020x1247.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-768x939.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1257x1536.jpg 1257w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1676x2048.jpg 1676w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1920x2347.jpg 1920w\" sizes=\"(max-width: 2094px) 100vw, 2094px\">\u003cfigcaption class=\"wp-caption-text\">Nicole White, ‘Advertisement,’ 2020, after Paul Outerbridge Jr., ‘Advertisement,’ 1938. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nicole White’s \u003ci>Advertisement\u003c/i> — the only piece that draws on source material that includes toilet paper — mirrors Paul Outerbridge Jr.’s image for a 1936 Scott Paper Company campaign. Positioned against a vibrant teal backdrop and a bed of red rose blossoms, a perfectly manicured hand gestures to the toilet paper rolls in both photographs. Together, they illustrate performative mid-century ideas of domesticity and femininity, and how profoundly advertising still shapes the contours of life in wealthy, commodity-driven Western countries.\u003c/p>\n\u003cp>In \u003ci>Charmin, San Francisco\u003c/i>, after Harry Callahan’s \u003ci>Eleanor, Chicago\u003c/i> (1947), Colleen Mullins interpreted Callahan’s loving portrait of his wife’s derriere as twin stacks of toilet paper. Mullins’ composition is one of many in this installation that remind me how formally powerful photographs can be. Perhaps inadvertently, the image references the intended use of toilet paper. \u003c/p>\n\u003cfigure id=\"attachment_13925033\" class=\"wp-caption aligncenter\" style=\"max-width: 1724px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/White_Pierson-scaled.jpg\" alt=\"Black-and-white image of person looking through cut-out paper, wrapped in sheet\" width=\"1724\" height=\"2560\" class=\"size-full wp-image-13925033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-scaled.jpg 1724w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-800x1188.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1020x1515.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-768x1140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1034x1536.jpg 1034w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1379x2048.jpg 1379w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1920x2851.jpg 1920w\" sizes=\"(max-width: 1724px) 100vw, 1724px\">\u003cfigcaption class=\"wp-caption-text\">Nicole White, ‘Shelter-in-Place Official Portrait,’ 2020; after Pierre-Louis Pierson, ‘Scherzo di Follia,’ 1863/66. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As curator Corey Keller wrote in her brilliant catalog essay, “commonplace and scarce, virginally blank and ultimately scatological, toilet paper embraces a surprising range of contradictions.” \u003ci>San Francisco\u003c/i>, Christy McDonald’s interpretation of Josef Koudelka’s potent 1968 image \u003ci>Prague\u003c/i>, pleasantly raised the hairs on my arms. McDonald photographed herself, or someone else, wearing a watch and holding a fluttering toilet paper roll with a view of the Transamerica Pyramid in the background. In Koudelka’s iconic scene, we witness an eerie calm before the Soviets invade and violently subdue the Prague Spring resistance movement. McDonald’s view of a formerly bustling North Beach street is likewise unsettling, recalling how empty San Francisco and other urban centers felt.\u003c/p>\n\u003cp>Watching the artists and excited guests step into Chung 24 Gallery for the opening reception on a recent rainy Saturday afternoon, the anxiety that I and many of us once felt about quarantine isolation started to ease. Instead, I felt a warm and abiding appreciation for the extraordinary professional community that surrounded me, the Rolls and Tubes Collective artists included. \u003c/p>\n\u003cp>If the smiles of recognition and reunion led to talk of Joe Exotic or making bread or sourcing toilet paper, I don’t know. It doesn’t matter. Rolls and Tubes Collective’s \u003ci>A History of Photography\u003c/i> invites their community to marvel at a project that began as a way to defeat creative block, and transformed into an appreciation of photographic history through loving homage.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Rolls and Tubes Collective’s ‘A History of Photography’ is on view at Chung 24 Gallery (4071 24th St., San Francisco) through March 11. \u003ca href=\"https://www.chung24gallery.com/current-exhibition\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometimes I forget my own advice, which is to never accept a photograph of an artwork as a substitution for the real thing. Even the flattest painting has a different impact in 3D space, whether that comes from the interaction of colors, unexpected scale or the satisfying detail of a taped-off edge. And installation work — well, I should know better.\u003c/p>\n\u003cp>I stepped into the Berkeley Art Museum and Pacific Film Archive’s magnificent retrospective \u003ci>\u003ca href=\"https://bampfa.org/program/amalia-mesa-bains-archaeology-memory\">Amalia Mesa-Bains: Archaeology of Memory\u003c/a>\u003c/i> with a handful of static, slightly murky images in my mind. I was wholly unprepared for the reality of her work, with its luxurious textures, vibrant color choices and dense arrangements of found and cherished objects. The scent of lavender drifted through the climate-controlled galleries. The show, co-curated by Laura E. Pérez and María Esther Fernández, is Mesa-Bains’ first retrospective, and a return to the Bay Area, where she spent much of her career. \u003c/p>\n\u003cfigure id=\"attachment_13924982\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-9_1200.jpg\" alt=\"White chair in front of vanity with white fabric draped behind\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Installation view of ‘Venus Envy Chapter I: First Holy Communion, Moments Before the End,’ 1993/2022. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Archaeology of Memory\u003c/i> opens with \u003ci>Venus Envy Chapter I: First Holy Communion, Moments Before the End\u003c/i> (1993/2022), part of a series shown here in its entirety for the first time. This is not a gradual introduction to Mesa-Bains’ five-decades-long art practice, but a sudden submersion into an arrangement of object-filled vitrines, furniture, religious paraphernalia, wall works, handwritten text, a bauble-encrusted vanity and many, many mirrors.\u003c/p>\n\u003cp>That first gallery effected the same feeling I have in a well-stocked bookstore: “I’m never going to live long enough to absorb all of this information.” But we are not meant to read all the text, nor see all the images. In almost all of Mesa-Bains’ work, regardless of medium, there is a process of layering and obscuring. That unknowability becomes strategic. Mesa-Bains does the work of unearthing histories — Indigenous, Mexican, Chicanx, political, domestic, feminist — and merges them with her own memories, creating evocative amalgamations of object and symbol. For as complex and powerful as the work is, Mesa-Bains’ methods signal that there is still so much to uncover: more stories, more experiences, more structures to question and complicate.\u003c/p>\n\u003cfigure id=\"attachment_13924978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-10_1200.jpg\" alt=\"View of desk crowded with old-fashioned objects for studying and measuring, backgrounded by bright green wall\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Installation view of ‘The Library of Sor Juana Inés de la Cruz,’ 1994/2021. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Library of Sor Juana Inés de la Cruz\u003c/i> (1994/2021), from \u003ci>Venus Envy Chapter II: The Harem and Other Enclosures\u003c/i>, Mesa-Bains imagines the desk of the 17th century Mexican writer, philosopher, poet and nun. Among magnifying glasses, globes and petri dishes dangles a receipt-like list of Latino populations in different metro areas across the United States, followed by prison populations and COVID statistics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is the type of detail those preview images will always fail to depict. In each staging, an installation takes on a new and fresh form, simply by dint of assembling in a different space at a different time. This mutability nods to Mesa-Bains’ early work, which drew from her role as an altarista for Día de los Muertos celebrations. She connected with San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/\">Galería de la Raza\u003c/a> in 1971, and ofrendas became her medium of choice.\u003c/p>\n\u003cp>Things shifted toward permanence in the early 1990s, however, when she experienced major health issues and made a conscious move away from the ephemeral. Even so, the artworks that followed resist stillness. Objects repeat across installations (a noted challenge for the retrospective). The dried flowers and crushed glass that Mesa-Bains spreads around the bases of her pieces (a handy physical barrier that precludes the need for unsightly stanchions) are inherently unfixed.\u003c/p>\n\u003cfigure id=\"attachment_13924979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-12_1200.jpg\" alt=\"Moss covered female figure reclines on green rug looking at giant mirror\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Installation view of ‘Cihuateotl with Mirror in Private Landscapes and Public Territories,’ 1998-2011/2018. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After that first gallery, each section of \u003ci>Archaeology of Memory\u003c/i> seems to get more and more breathing room, creating space for Mesa-Bains’ “aesthetic of accumulation” in the viewer’s own mind. The final piece in the show, \u003ci>An Ofrenda for Dolores del Rio\u003c/i> (1984/1991), is a sparkling and pink-hued homage to the Mexican actress that gets its own wide wall.\u003c/p>\n\u003cp>Throughout the show, Mesa-Bains’ work uses intricate beauty to broach serious topics: marginalized histories, personal loss and pain. But there is also great joy and love in these pieces, as well as a scholarly rigor and a hint of the pleasure that comes from investigating diverse narrative threads. In an 11-minute documentary directed by Raymond Telles, which plays on a screen at the center of the exhibition, Mesa-Bains says, “I have no embarrassment about being a narrative artist, I have no embarrassment about telling a story, because I think that’s kind of my job.”\u003c/p>\n\u003cfigure id=\"attachment_13924981\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-2_1200.jpg\" alt=\"Framed photographs, film canisters and small objects flanked by pink curtains, ground covered in dried flowers\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Detail of ‘An Ofrenda for Dolores del Rio,’ 1984/1991. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s exciting and remarkable about her method of storytelling is that it exists in tangible, sculptural forms. It welcomes viewers in, and creates space for all the archeological work to come. In her catalog essay, co-curator Laura Pérez notes that Mesa-Bains has long been known within the Latinx art scene and among feminist artists of color, and has already influenced generations of younger artists. This retrospective, coming in Mesa-Bains’ 79th year, is almost a formality. But it’s an important formality, given the chronic underrepresentation of Latinx and Chicanx artists in museums — especially in a state like California, which owes so much of its history, culture and future to its Latino population.\u003c/p>\n\u003cp>Don’t miss the opportunity to have Amalia Mesa-Bains’ work take up residence in your own memories.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Amalia Mesa-Bains: Archaeology of Memory’ is on view at the Berkeley Art Museum and Pacific Film Archive through June 23. \u003ca href=\"https://bampfa.org/program/amalia-mesa-bains-archaeology-memory\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes I forget my own advice, which is to never accept a photograph of an artwork as a substitution for the real thing. Even the flattest painting has a different impact in 3D space, whether that comes from the interaction of colors, unexpected scale or the satisfying detail of a taped-off edge. And installation work — well, I should know better.\u003c/p>\n\u003cp>I stepped into the Berkeley Art Museum and Pacific Film Archive’s magnificent retrospective \u003ci>\u003ca href=\"https://bampfa.org/program/amalia-mesa-bains-archaeology-memory\">Amalia Mesa-Bains: Archaeology of Memory\u003c/a>\u003c/i> with a handful of static, slightly murky images in my mind. I was wholly unprepared for the reality of her work, with its luxurious textures, vibrant color choices and dense arrangements of found and cherished objects. The scent of lavender drifted through the climate-controlled galleries. The show, co-curated by Laura E. Pérez and María Esther Fernández, is Mesa-Bains’ first retrospective, and a return to the Bay Area, where she spent much of her career. \u003c/p>\n\u003cfigure id=\"attachment_13924982\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-9_1200.jpg\" alt=\"White chair in front of vanity with white fabric draped behind\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-9_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Installation view of ‘Venus Envy Chapter I: First Holy Communion, Moments Before the End,’ 1993/2022. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Archaeology of Memory\u003c/i> opens with \u003ci>Venus Envy Chapter I: First Holy Communion, Moments Before the End\u003c/i> (1993/2022), part of a series shown here in its entirety for the first time. This is not a gradual introduction to Mesa-Bains’ five-decades-long art practice, but a sudden submersion into an arrangement of object-filled vitrines, furniture, religious paraphernalia, wall works, handwritten text, a bauble-encrusted vanity and many, many mirrors.\u003c/p>\n\u003cp>That first gallery effected the same feeling I have in a well-stocked bookstore: “I’m never going to live long enough to absorb all of this information.” But we are not meant to read all the text, nor see all the images. In almost all of Mesa-Bains’ work, regardless of medium, there is a process of layering and obscuring. That unknowability becomes strategic. Mesa-Bains does the work of unearthing histories — Indigenous, Mexican, Chicanx, political, domestic, feminist — and merges them with her own memories, creating evocative amalgamations of object and symbol. For as complex and powerful as the work is, Mesa-Bains’ methods signal that there is still so much to uncover: more stories, more experiences, more structures to question and complicate.\u003c/p>\n\u003cfigure id=\"attachment_13924978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-10_1200.jpg\" alt=\"View of desk crowded with old-fashioned objects for studying and measuring, backgrounded by bright green wall\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-10_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Installation view of ‘The Library of Sor Juana Inés de la Cruz,’ 1994/2021. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Library of Sor Juana Inés de la Cruz\u003c/i> (1994/2021), from \u003ci>Venus Envy Chapter II: The Harem and Other Enclosures\u003c/i>, Mesa-Bains imagines the desk of the 17th century Mexican writer, philosopher, poet and nun. Among magnifying glasses, globes and petri dishes dangles a receipt-like list of Latino populations in different metro areas across the United States, followed by prison populations and COVID statistics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the type of detail those preview images will always fail to depict. In each staging, an installation takes on a new and fresh form, simply by dint of assembling in a different space at a different time. This mutability nods to Mesa-Bains’ early work, which drew from her role as an altarista for Día de los Muertos celebrations. She connected with San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/\">Galería de la Raza\u003c/a> in 1971, and ofrendas became her medium of choice.\u003c/p>\n\u003cp>Things shifted toward permanence in the early 1990s, however, when she experienced major health issues and made a conscious move away from the ephemeral. Even so, the artworks that followed resist stillness. Objects repeat across installations (a noted challenge for the retrospective). The dried flowers and crushed glass that Mesa-Bains spreads around the bases of her pieces (a handy physical barrier that precludes the need for unsightly stanchions) are inherently unfixed.\u003c/p>\n\u003cfigure id=\"attachment_13924979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-12_1200.jpg\" alt=\"Moss covered female figure reclines on green rug looking at giant mirror\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-12_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Installation view of ‘Cihuateotl with Mirror in Private Landscapes and Public Territories,’ 1998-2011/2018. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After that first gallery, each section of \u003ci>Archaeology of Memory\u003c/i> seems to get more and more breathing room, creating space for Mesa-Bains’ “aesthetic of accumulation” in the viewer’s own mind. The final piece in the show, \u003ci>An Ofrenda for Dolores del Rio\u003c/i> (1984/1991), is a sparkling and pink-hued homage to the Mexican actress that gets its own wide wall.\u003c/p>\n\u003cp>Throughout the show, Mesa-Bains’ work uses intricate beauty to broach serious topics: marginalized histories, personal loss and pain. But there is also great joy and love in these pieces, as well as a scholarly rigor and a hint of the pleasure that comes from investigating diverse narrative threads. In an 11-minute documentary directed by Raymond Telles, which plays on a screen at the center of the exhibition, Mesa-Bains says, “I have no embarrassment about being a narrative artist, I have no embarrassment about telling a story, because I think that’s kind of my job.”\u003c/p>\n\u003cfigure id=\"attachment_13924981\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AMB-2_1200.jpg\" alt=\"Framed photographs, film canisters and small objects flanked by pink curtains, ground covered in dried flowers\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13924981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AMB-2_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amalia Mesa-Bains, Detail of ‘An Ofrenda for Dolores del Rio,’ 1984/1991. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s exciting and remarkable about her method of storytelling is that it exists in tangible, sculptural forms. It welcomes viewers in, and creates space for all the archeological work to come. In her catalog essay, co-curator Laura Pérez notes that Mesa-Bains has long been known within the Latinx art scene and among feminist artists of color, and has already influenced generations of younger artists. This retrospective, coming in Mesa-Bains’ 79th year, is almost a formality. But it’s an important formality, given the chronic underrepresentation of Latinx and Chicanx artists in museums — especially in a state like California, which owes so much of its history, culture and future to its Latino population.\u003c/p>\n\u003cp>Don’t miss the opportunity to have Amalia Mesa-Bains’ work take up residence in your own memories.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Amalia Mesa-Bains: Archaeology of Memory’ is on view at the Berkeley Art Museum and Pacific Film Archive through June 23. \u003ca href=\"https://bampfa.org/program/amalia-mesa-bains-archaeology-memory\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "House of Seiko’s Inaugural Show Revels in Subtlety and Process",
"headTitle": "House of Seiko’s Inaugural Show Revels in Subtlety and Process | KQED",
"content": "\u003cp>It’s easy to point to the losses in the Bay Area visual arts scene. But for as many closings as we’ve experienced, there have been — and hopefully always will be — inaugural shows, expansions and anniversaries to celebrate. When \u003ca href=\"https://www.instagram.com/delaplanesf/\">Delaplane\u003c/a>, a narrow space on San Francisco’s 14th Street, closed up shop in March 2022, its final group show was exultant, with crowds spilling onto the sidewalk and street.\u003c/p>\n\u003cp>It makes sense that a similarly enthusiastic mass of people gathered for the grand opening of \u003ca href=\"https://houseofseiko.info/\">House of Seiko\u003c/a> on Jan. 14, a new gallery run by one half of Delaplane, Cole Solinger, and Nicolas Torres of neighboring \u003ca href=\"https://www.buddythebar.com/\">Buddy Bar\u003c/a>. When the Bay Area art scene wants to, it can really show up.\u003c/p>\n\u003cp>The 22nd Street space (a former watch and “jewelery” repair shop, or so says the remaining sign), opened with \u003ci>Cardinal Index\u003c/i>, a group show of eight works by eight artists. In that mix of sculpture, installation and works on paper, we get a statement of purpose for the brand new gallery: a gentle invitation to look closer, and to enjoy work that comes from a group of artists with Bay Area ties.\u003c/p>\n\u003cfigure id=\"attachment_13924664\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924664\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires6_1200.jpg\" alt=\"Small pile of ziploc backs with clipped newspaper inside\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires6_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Colter Jacobsen, ‘it’s 8’s all the way down (Uncle Steve’s morning meditation),’ 2021. \u003ccite>(Courtesy of House of Seiko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the work here overwhelms, befitting the small scale of the gallery space. Colter Jacobson’s contribution to the show is a tidy pile of Ziploc bags in one corner. In each: a collection of carefully cut-out ‘8’s from newspapers and magazines, clipped by Jacobsen’s Uncle Steve and mailed to the artist.\u003c/p>\n\u003cp>Other pieces nearly blend into their surroundings: Syd Yocom’s untitled chandelier sculpture is covered in slug-like embellishments of beeswax and brass, and hangs unobtrusively from the gallery ceiling between fluorescent tubes. And Marisa Takal’s delicate collage on a cardboard box, a kind of concrete poem made up of the words “sky,” “tree” and “ground,” is easy to miss in the gallery’s large, street-facing window.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show revels in subtlety and process; wild textures are the one extravagance. In Davina Semo’s \u003ci>Terrain\u003c/i>, a wall-mounted relief of aluminum, its surface resembles a rectangle of rough bark or a moisture-starved slab of clay. Something like an asterisk symbol punctures the organic forms — a mark of annotation or omission on this vertical, cryptic landscape.\u003c/p>\n\u003cfigure id=\"attachment_13924666\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires27_1200.jpg\" alt=\"Interior view of white walled gallery with floor and wall work under fluorescent lights\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires27_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires27_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires27_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires27_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires27_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Cardinal Index’ with work by Ishan Clemenco, Rumi Koshino, Kennedy Morgan, Syd Yocom and Colter Jacobsen. \u003ccite>(Courtesy of House of Seiko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In two small works on paper by Kennedy Morgan and Rumi Koshino, the material indulgence is all about different approaches to colored pencil: delicate or dense in each artist’s respective hands. Morgan’s \u003ci>The Ladder\u003c/i> (a nice compliment to Yocom’s twisty light fixture) shows entwined vines with feathery red and blue blossoms at their ends. Like a careful botanic study of an alien species, there is something otherworldly about Morgan’s drawing, mounted under an appropriately sci-fi sheet of plastic.\u003c/p>\n\u003cp>The restrained presentation of \u003ci>Cardinal Index\u003c/i> lends all the work a suggestion of possible expansion. Those ‘8’s could scatter across the floor. The organic growth implied in Yocom and Morgan’s work could wend its way across the white walls and through the metal security gate. An installation by Ishan Clemenco that uses chalk line dust, exposed sheet film and a wooden ruler (among many other materials) is all about marks and measurements — a series of precise moments charted in a highly personal way.\u003c/p>\n\u003cp>If this gallery used to be a temporary home for broken timepieces, it makes sense that the work we see here represents a pause within a larger, longer conversation. The most tangible representation of this idea comes from Sam Shoemaker’s \u003ci>Vessel #XI\u003c/i>, a ceramic and reishi mushroom sculpture made by allowing the reishi to grow for several months, responding to slight changes in its environment in its own “mushroom language.”\u003c/p>\n\u003cp>In House of Seiko’s window, this arrested collaboration between an artist and a fungus is a delightful sign of all the experimentation to come.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Cardinal Index’ is on view at House of Seiko (3109 22nd St., San Francisco) through Feb. 25. \u003ca href=\"https://houseofseiko.info/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s easy to point to the losses in the Bay Area visual arts scene. But for as many closings as we’ve experienced, there have been — and hopefully always will be — inaugural shows, expansions and anniversaries to celebrate. When \u003ca href=\"https://www.instagram.com/delaplanesf/\">Delaplane\u003c/a>, a narrow space on San Francisco’s 14th Street, closed up shop in March 2022, its final group show was exultant, with crowds spilling onto the sidewalk and street.\u003c/p>\n\u003cp>It makes sense that a similarly enthusiastic mass of people gathered for the grand opening of \u003ca href=\"https://houseofseiko.info/\">House of Seiko\u003c/a> on Jan. 14, a new gallery run by one half of Delaplane, Cole Solinger, and Nicolas Torres of neighboring \u003ca href=\"https://www.buddythebar.com/\">Buddy Bar\u003c/a>. When the Bay Area art scene wants to, it can really show up.\u003c/p>\n\u003cp>The 22nd Street space (a former watch and “jewelery” repair shop, or so says the remaining sign), opened with \u003ci>Cardinal Index\u003c/i>, a group show of eight works by eight artists. In that mix of sculpture, installation and works on paper, we get a statement of purpose for the brand new gallery: a gentle invitation to look closer, and to enjoy work that comes from a group of artists with Bay Area ties.\u003c/p>\n\u003cfigure id=\"attachment_13924664\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924664\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires6_1200.jpg\" alt=\"Small pile of ziploc backs with clipped newspaper inside\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires6_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires6_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Colter Jacobsen, ‘it’s 8’s all the way down (Uncle Steve’s morning meditation),’ 2021. \u003ccite>(Courtesy of House of Seiko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the work here overwhelms, befitting the small scale of the gallery space. Colter Jacobson’s contribution to the show is a tidy pile of Ziploc bags in one corner. In each: a collection of carefully cut-out ‘8’s from newspapers and magazines, clipped by Jacobsen’s Uncle Steve and mailed to the artist.\u003c/p>\n\u003cp>Other pieces nearly blend into their surroundings: Syd Yocom’s untitled chandelier sculpture is covered in slug-like embellishments of beeswax and brass, and hangs unobtrusively from the gallery ceiling between fluorescent tubes. And Marisa Takal’s delicate collage on a cardboard box, a kind of concrete poem made up of the words “sky,” “tree” and “ground,” is easy to miss in the gallery’s large, street-facing window.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show revels in subtlety and process; wild textures are the one extravagance. In Davina Semo’s \u003ci>Terrain\u003c/i>, a wall-mounted relief of aluminum, its surface resembles a rectangle of rough bark or a moisture-starved slab of clay. Something like an asterisk symbol punctures the organic forms — a mark of annotation or omission on this vertical, cryptic landscape.\u003c/p>\n\u003cfigure id=\"attachment_13924666\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires27_1200.jpg\" alt=\"Interior view of white walled gallery with floor and wall work under fluorescent lights\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires27_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires27_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires27_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires27_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/House_of_Seiko_Cardinal_Index_Install_hires27_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Cardinal Index’ with work by Ishan Clemenco, Rumi Koshino, Kennedy Morgan, Syd Yocom and Colter Jacobsen. \u003ccite>(Courtesy of House of Seiko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In two small works on paper by Kennedy Morgan and Rumi Koshino, the material indulgence is all about different approaches to colored pencil: delicate or dense in each artist’s respective hands. Morgan’s \u003ci>The Ladder\u003c/i> (a nice compliment to Yocom’s twisty light fixture) shows entwined vines with feathery red and blue blossoms at their ends. Like a careful botanic study of an alien species, there is something otherworldly about Morgan’s drawing, mounted under an appropriately sci-fi sheet of plastic.\u003c/p>\n\u003cp>The restrained presentation of \u003ci>Cardinal Index\u003c/i> lends all the work a suggestion of possible expansion. Those ‘8’s could scatter across the floor. The organic growth implied in Yocom and Morgan’s work could wend its way across the white walls and through the metal security gate. An installation by Ishan Clemenco that uses chalk line dust, exposed sheet film and a wooden ruler (among many other materials) is all about marks and measurements — a series of precise moments charted in a highly personal way.\u003c/p>\n\u003cp>If this gallery used to be a temporary home for broken timepieces, it makes sense that the work we see here represents a pause within a larger, longer conversation. The most tangible representation of this idea comes from Sam Shoemaker’s \u003ci>Vessel #XI\u003c/i>, a ceramic and reishi mushroom sculpture made by allowing the reishi to grow for several months, responding to slight changes in its environment in its own “mushroom language.”\u003c/p>\n\u003cp>In House of Seiko’s window, this arrested collaboration between an artist and a fungus is a delightful sign of all the experimentation to come.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Cardinal Index’ is on view at House of Seiko (3109 22nd St., San Francisco) through Feb. 25. \u003ca href=\"https://houseofseiko.info/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-bay-area-was-hip-hop-before-there-was-hip-hop",
"title": "The Bay Area Was Hip-Hop Before There Was Hip-Hop",
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"headTitle": "The Bay Area Was Hip-Hop Before There Was Hip-Hop | KQED",
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"content": "\u003cfigure id=\"attachment_13924127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from upper left: Women of the Black Panther Party (BAMPFA/Pirkle Jones Foundation); the Black Resurgents (artist photo); Ntozake Shange (John Kisch Archive/Getty Images); Sun Ra in ‘Space is the Place’ (Harte Recordings); Sly Stone (CBS Records).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> This story is part of\u003c/span>\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> \u003cspan style=\"font-weight: 400\">That’s My Word\u003c/span>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cem>“People in the house, this is just for you/ A little rap to make you boogaloo”\u003c/em>\u003cbr>\n—The Sugarhill Gang, 1979\u003c/p>\n\u003cp>Grandmaster Caz, the Bronx pioneer who ghostwrote the Sugarhill Gang’s groundbreaking 1979 single “\u003ca href=\"https://www.youtube.com/watch?v=rKTUAESacQM\">Rapper’s Delight\u003c/a>,” once said, “Hip-hop didn’t invent anything. Hop-hop reinvented everything.”\u003c/p>\n\u003cp>That statement rings truer than ever as we approach the 50th anniversary of Kool Herc’s first party in the Bronx, where the globally influential music and culture were born. And it especially rings true here in the Bay Area.\u003c/p>\n\u003cp>Hip-hop wasn’t fully formed in 1973. In fact, it didn’t have an official name until 1982, the year the \u003ci>Village Voice\u003c/i> published a \u003ca href=\"https://digital.library.cornell.edu/catalog/ss:16057641\">profile of Zulu Nation founder Afrika Bambaataa\u003c/a>. Before Bambaataa joined the Black Spades street gang as a teenager, he hung out at the local Black Panther Information Center, and “his political leanings were encouraged by the appearance of songs like ‘Say It Loud, I’m Black and I’m Proud’ by James Brown and ‘Stand!’ by Sly and the Family Stone,” Steven Hager wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, two of the three cultural influences cited in one of the earliest known print references to hip-hop are from the Bay Area. Oh word? Say that then.\u003c/p>\n\u003cp>No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized. A thorough exploration of the Bay’s cultural and political movements of the 1960s and ’70s strongly suggests the Bay was hip-hop before there was hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg\" alt=\"illustrations of huey newton and sly stone\" width=\"800\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1020x543.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-768x409.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1536x818.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Bay Area, both Huey Newton and Sly Stone (L–R) helped sow the seeds of what would later be referred to as hip-hop. \u003ccite>(Illustrations by Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Consider this: Before he became a funk superstar, Sly Stone was a fast-talking radio personality whose \u003ca href=\"https://soundcloud.com/djstef415/sly-stone-on-ksol-1967\">on-air patter\u003c/a>, laden with hep phrases, took the form of rapping before rap music. When it came to dance, the Bay Area had boogaloo, robotting and strutting, whose innovative moves preceded b-boying by almost 10 years. (There’s even evidence of breakdancing crews at local talent shows prior to nationwide releases of \u003cem>Breakin’\u003c/em> and \u003cem>Beat Street\u003c/em>.)\u003c/p>\n\u003cp>The \u003ca href=\"https://en.wikipedia.org/wiki/Wall_of_Respect\">community mural movement\u003c/a>, which parallels the \u003ca href=\"https://blogs.cuit.columbia.edu/ijt2106/moment-of-departure/the-emergence-of-modern-graffiti/\">modern graffiti movement\u003c/a>, took root in the Bay before wildstyle frescoes appeared on New York subway trains. The Bay Area’s \u003ca href=\"https://legionsofboom.com/\">Filipino American mobile DJ scene\u003c/a> dates back to garage parties in the 1970s in South San Francisco and Daly City.\u003c/p>\n\u003cp>Consider also that the iconography of hip-hop was shaped by Bay Area activists, as well as street-level archetypes of badmen and tricksters whose legend became \u003ca href=\"https://www.youtube.com/watch?v=CsXK4_D6ByA\">urban folklore\u003c/a>. A key reason the Bay Area became an early adopter of hip-hop was because its culture not only anticipated its arrival, but contributed to its essence during its developmental stages.\u003c/p>\n\u003cfigure id=\"attachment_13924289\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BPP2.png\" alt=\"\" width=\"615\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2-160x216.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">A 1971 flyer for a Black Panther Party rally calling for Bobby Seale, Ericka Huggins, Angela Davis and Ruchell Magee to be freed from prison. \u003ccite>(Courtesy of Black Panther Party Alumni Legacy Network)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Black Panthers lay hip-hop’s ideological foundation\u003c/h2>\n\u003cp>Hip-hop began as an underground artform created by inner city youth with few resources, who were dynamic in how they expressed their style and identity. Much of its ideology and political viewpoints were shaped by the Black Panthers, who were founded in Oakland in 1966 and grew to 38 national chapters within two years.\u003c/p>\n\u003cp>The Black Panthers had a distinct influence on people like dancer Will “Mr. Penguin” Randolph, an early practitioner of boogaloo and co-founder of the dance crew the \u003ca href=\"https://www.blackresurgents.com/\">Black Resurgents.\u003c/a> Randolph, who grew up in East Oakland, remembers how the Panthers used culture to engage young people and push their revolutionary message.\u003c/p>\n\u003cp>“They had all these rallies with Elaine Brown and different people, and the Black Resurgents were the unofficial official dance group,” Randolph says. “And they would use us to draw the adults in to talk about the city’s plight politically. It was just phenomenal.” [aside postid='arts_13923938']\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener\">The Lumpen\u003c/a>, a Black Panther-affiliated touring funk band, spread the party’s message around the country. It’s no coincidence that groups like the Chi-Lites, the O’Jays and the Isley Brothers began to reference Panther talking points on songs like “\u003ca href=\"https://youtu.be/qEwMaeN2x-c\" target=\"_blank\" rel=\"noopener\">Give More Power to the People\u003c/a>,” “\u003ca href=\"https://youtu.be/uebYua_vdPc\" target=\"_blank\" rel=\"noopener\">Give the People What They Want\u003c/a>” and “\u003ca href=\"https://youtu.be/8QZvoOqUkqw\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>.”\u003c/p>\n\u003cp>“You have to consider that the Black Panther ideology was steeped in, as are most cultural ideas, in the music of the day,” Randolph says. “The grittiness of the blue collar town of Oakland, and the rise of the ideology of the Black Panther Party, and the rise of the funk music of the town all came together.”\u003c/p>\n\u003cp>In the hip-hop era, children of Black Panthers like Tupac Shakur and Digital Underground’s Money B — known as “Panther cubs” — would be the ones to carry the Panthers’ vision for Black liberation forward. There’s no “\u003ca href=\"https://youtu.be/zfuF2jOeUx8\" target=\"_blank\" rel=\"noopener\">Rebel of the Underground\u003c/a>,” an early agitprop Tupac song, without the Black Panthers. No “Break the Grip of Shame,” the classic 1990 single by San Francisco rapper Paris, either.\u003c/p>\n\u003cp>https://youtu.be/HJ96GPtnH70\u003c/p>\n\u003cp>Hip-hop activism’s cornerstone issues, police reform and the prison-industrial complex, contain obvious through-lines back to the Black Panthers. In 1966, the Panthers’ manifesto, the Ten-Point Program, stated, “We Want An Immediate End to Police Brutality and the Murder of Black People,” followed by a call for “all Black People (to) be released from the many jails and prisons.”\u003c/p>\n\u003cp>N.W.A’s “Fuck Tha Police” seemed outrageous in 1989, but became prescient three years later, when LAPD officers were caught on video beating Rodney King. Political rappers like Public Enemy and KRS-One often harbored strong anti-police views, which were shared by such less-likely sources as New York’s L.L. Cool J and Houston’s UGK, on down to Vallejo’s The Mac.\u003c/p>\n\u003cp>Before the NYPD killing of Amadou Diallo inspired the Hip Hop for Respect project in 2000, the 1995 death of Aaron Williams in SFPD custody led to hip-hop activist organization Third Eye Movement protesting the SF Police Commission, and later resisting California’s Juvenile Crime initiative, Prop. 21. In 2009, Mistah F.A.B., Boots Riley and other local hip-hop artists took part in \u003ca href=\"https://www.kqed.org/arts/13847704/after-oscar-grant-oakland-artists-inspired-a-new-generation-of-activists\" target=\"_blank\" rel=\"noopener\">protests against Oscar Grant’s killing\u003c/a> by BART police.\u003c/p>\n\u003cp>More recently, the 2016 \u003ca href=\"https://www.kqed.org/arts/11537324/equiptos-hunger-strike-the-importance-of-art-in-social-change\" target=\"_blank\" rel=\"noopener\">Frisco Five\u003c/a> hunger strike, spearheaded by rapper Equipto, resulted in SFPD reform. In 2020, \u003ca href=\"https://www.kqed.org/arts/13881529/photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls\" target=\"_blank\" rel=\"noopener\">graffiti artists and muralists took to the Oakland streets\u003c/a> in response to George Floyd’s murder.\u003c/p>\n\u003cp>Over the past decade, activists have rallied around the Black Lives Matter movement, and it’s no coincidence that the phrase was first coined by Black Lives Matter cofounder Alicia Garza, in Oakland, the home of the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_12159957\" class=\"wp-caption aligncenter\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/H95.18.802-398x600.jpg\" alt=\"Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-784x1180.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-1180x1777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802.jpg 1793w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before conscious rap, funk brought the message\u003c/h2>\n\u003cp>In the Bay Area, funk music was inextricably linked to the revolutionary movements of the 1960s. Beyond the Black Panthers were the Brown Berets, the Third World Liberation Front and the anti-Vietnam War movement, all animating young people to fight against an oppressive social order. One artist that emerged from this climate and eventually became one of hip-hop’s major influences was Sly Stone. A Vallejo-raised champion of multiculturalism and progressive social values, Sly transformed Black music during the ’60s and ’70s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/6QO0SJgNdiPaDRpwHMPySi?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Sly’s records often contained social commentary that mixed the personal with the political. “Stand!” is an anthem of self-determination positing that freedom is attainable “at least in your mind if you want to be”; Sly released similarly-themed songs like “\u003ca href=\"https://youtu.be/l8sz_7TPWE0\" target=\"_blank\" rel=\"noopener\">You Can Make It If You Try\u003c/a>,” “\u003ca href=\"https://youtu.be/HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>” and “\u003ca href=\"https://youtu.be/Ruq2HJGs31g\" target=\"_blank\" rel=\"noopener\">Skin I’m In\u003c/a>.”\u003c/p>\n\u003cp>In addition to his contributions to hip-hop’s lexicon — Sly and the Family Stone’s album \u003ci>Fresh\u003c/i> predates hip-hop’s popularizing of the term by at least a decade — there’s the music itself, which has become part of hip-hop’s genetic code. According to online sample databases, Sly and The Family Stone’s music has been sampled an astounding 967 times — up there with James Brown and the Meters.\u003c/p>\n\u003cp>Greg Errico’s drums on “\u003ca href=\"https://youtu.be/42YGprrAOj0\" target=\"_blank\" rel=\"noopener\">Sing A Simple Song\u003c/a>” alone have resurfaced in gangsta, alternative and even international rap songs, including Digital Underground’s “\u003ca href=\"https://youtu.be/PBsjggc5jHM\" target=\"_blank\" rel=\"noopener\">The Humpty Dance\u003c/a>,” Tupac’s “\u003ca href=\"https://youtu.be/skg0w8DpEe4\" target=\"_blank\" rel=\"noopener\">Temptations\u003c/a>,” Public Enemy’s “\u003ca href=\"https://youtu.be/mmo3HFa2vjg\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>,” KRS-One’s “\u003ca href=\"https://youtu.be/9ZrAYxWPN6c\" target=\"_blank\" rel=\"noopener\">Sound of Da Police\u003c/a>,” A Tribe Called Quest’s “\u003ca href=\"https://youtu.be/cxN4nKk2cfk\" target=\"_blank\" rel=\"noopener\">Jazz\u003c/a>” and countless others.\u003c/p>\n\u003cp>Family Stone bassist and Oakland native Larry Graham’s slap-bass technique, prominently displayed on 1968’s “\u003ca href=\"https://youtu.be/N5BP2KlPD4U\" target=\"_blank\" rel=\"noopener\">Thank You (Falettinme Be Mice Elf Again)\u003c/a>,” became a defining characteristic of funk, later used by musicians like Bootsy Collins as well as Chic’s Bernard Edwards, whose “Good Times” bassline would later drive “Rapper’s Delight.” [pullquote size='large']No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized.[/pullquote]\u003c/p>\n\u003cp>Sly also created a template for the artist-producer and independent label entrepreneur. He produced other artists for his short-lived Stone Flower label, often playing every musical instrument. His production of Little Sister’s “Somebody’s Watching You” became the first Top 40 hit to use electronic drums — a staple of nearly all hip-hop production.\u003c/p>\n\u003cp>“I feel like particularly with Sly, [he’s] part of the whole kind of mashup of the streets and the church,” says Lateef Daumont, a Panther cub best known as hip-hop artist Lateef the Truthspeaker of the Quannum collective. “They just had all of the things that would be blueprints for hip-hop later on — even business-wise, in a lot of ways.”\u003c/p>\n\u003cp>“Sly was the integrationist,” says author and educator Cecil Brown, a Berkeley resident during the ’70s who taught at Merritt College’s former campus on Grove Street (now Martin Luther King Jr. Way) in Oakland. “Also, Sly had an element of militancy in him, too, that was \u003cem>not\u003c/em> flower power, you know? It was like, ‘We got something that is going to make us feel better, and that belongs to us.’”\u003c/p>\n\u003cfigure id=\"attachment_13898274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898274\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sly Stone in a still from Questlove’s new film ‘Summer of Soul.’ \u003ccite>(Courtesy of Mass Distraction Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remarkably, Stone was able to cross over to the pop charts while maintaining an unapologetically Black identity. In a \u003ca href=\"https://www.youtube.com/watch?v=zDOyaGvOyPk\">1974 clip from \u003ci>The Mike Douglas Show\u003c/i>\u003c/a>, Sly is asked if his young, white middle-class fans know what he’s singing about. “Yeah, they know,” he says. Hip-hop exemplifies the same paradigm: It appeals to white youth precisely because it offers entry into a different cultural space, with its own reference points and vernacular.\u003c/p>\n\u003cp>Just as The Coup’s Boots Riley performed his song “\u003ca href=\"https://youtu.be/_2bkG0wwdXc\" target=\"_blank\" rel=\"noopener\">Underdogs\u003c/a>” during the Occupy Oakland demonstrations of 2011, Sly occasionally performed at Black Panther rallies while living in Oakland. His ear-to-the-street perspective, containing equal parts optimism and cynicism, is evidenced by the No. 1 album \u003ci>There’s A Riot Goin’ On\u003c/i>, released in 1971. As cultural critic Okla Jones wrote on the occasion of the album’s 50th anniversary, “America was a nation in transition, feeling the effects of the previous decade. The shadow of Dr. King’s assassination loomed over the Black community, and the Vietnam War divided an entire country. What Sly and the Family Stone’s fifth album did was give a voice to a new generation yearning to be heard.”\u003c/p>\n\u003cp>This dynamic — young people speaking their minds and determining their own identities through cultural expression — not only defined the early ’70s but connected the funk era to the rap era. Once you depart from the New York-centric breakbeat aesthetic, funk becomes \u003cem>the\u003c/em> defining element of hip-hop’s sound, particularly in the Southern United States and parts of the Midwest, and especially in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851562\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/lumpen_stage-800x523.jpg\" alt=\"The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-768x502.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther funk band The Lumpen performed between 1970 and 1972; afterwards, party leadership assigned its members to other roles within the organization. \u003ccite>(Courtesy of itsabouttime.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before breaking, the Bay had boogaloo\u003c/h2>\n\u003cp>The dance style known as Oakland boogaloo began in the 1960s with R&B and soul as its soundtrack, but the emergence of funk raised the bar for creative expression. “The thumping of the bass and the snapping of the snare drum and the thumping of the bass drum, you started to see people doing this free-form movement, with a hit and with body contortions,” says Will Randolph, whose group the Black Resurgents once performed during a 1977 Parliament concert at the Oakland Coliseum Arena, where they emerged from the iconic mothership in front of more than 10,000 fans.\u003c/p>\n\u003cp>“When you talk about hip-hop dance, primarily people think of breaking and popping,” Randolph says. “When you talk about street dance on a nationwide level prior to hip-hop dance coming out of primarily New York, you have this whole West Coast sea of dance and street dance. The Bay Area in particular is really the debut for hip-hop.”\u003c/p>\n\u003cp>https://youtu.be/IUdS6kxw2aI\u003c/p>\n\u003cp>From the mid-1960s to the early ’70s, years before hip-hop had a name, Oakland groups like the Black Resurgents, One Plus One, the Black Messengers and Pirate and the Easy Walkers perfected moves that would become part of the hip-hop dance vernacular.\u003c/p>\n\u003cp>“What I’m saying is that boogaloo, robotting, and strutting dance styles predate hip-hop as a culture, as a name, and even hip-hop dance as an artform,” says Randolph. (In 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=QDApdzFa3OI\">U Make Me Want Some\u003c/a>,” Mac Dre’s mentor and namesake The Mac even raps: “You can do the boogaloo / Like they used to do in 1972.”)\u003c/p>\n\u003cp>As boogaloo branched off into Richmond robotting and San Francisco strutting in the mid-1970s to become the predominant form of urban youth culture in the Bay Area, dancers adopted the sartorial flamboyance associated with pimps, incorporating top hats, canes and pointy-toed shoes into their aesthetic. White gloves created a mesmerizing effect under blacklight during performances in dark halls.\u003c/p>\n\u003cp>Fueled by talent show competitions, which brought local fame and popularity, the artform continued to develop into the early ’80s. Synchronized group routines, costumes, and stage props all became part of the mix. Most routines developed for competitions were performed just once. Some groups practiced in secret so no one could steal their moves. (The Black Resurgents were an exception; they were known to practice in front of an open window, often drawing crowds from their neighborhood.)\u003c/p>\n\u003cp>Coded signals between dancers would indicate they were participants in the same culture and ready to battle at a moment’s notice, such as popping one’s collar — which later became a signature hallmark of Bay Area hip-hop expression. Being known as a boogaloo, strutter or robotter also conferred social status, and could give practitioners a ghetto pass through hostile territory or nullify threats of violence altogether.\u003c/p>\n\u003cp>As boogaloo spread in the latter half of the ’70s to San Jose, Sacramento, Fresno and Los Angeles, a move originally known as “The Oakland Hit” became the “pop,” and blended with the locking style indigenous to Southern California. Pop-locking was born.\u003c/p>\n\u003cfigure id=\"attachment_13924302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg\" alt=\"\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8.jpg 924w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Resurgents on ‘The Jay Payton Show,’ July 18, 1976. \u003ccite>(Courtesy AAMLO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the Bay Area’s contributions didn’t make the history books. In 1979, the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=rkejPbx9zSI\">appeared on \u003ci>Soul Train\u003c/i>\u003c/a> and were erroneously announced as the originators of boogaloo by host Don Cornelius. Boogaloo also spread to New York through Bay Area dancers like Jerry Rentie, who served active military duty there, but wasn’t recognized as a distinct style by New York rappers like Run-DMC, who said “let the poppers pop and the breakers break” on 1984’s “Rock Box.”\u003c/p>\n\u003cp>The Northern California origins of popping became further obscured when breakdancing arrived on the West Coast in the early ’80s, and boogaloo, strutting, robotting, popping and breaking were all subsumed into the amalgamation of hip-hop dance. In “\u003ca href=\"https://youtu.be/HshF2AOx4VM\" target=\"_blank\" rel=\"noopener\">West Coast Pop Lock\u003c/a>,” a 1982 hit for Ronnie Hudson that most know as the hook of Tupac’s “California Love,” Hudson shouts out Los Angeles, Watts and Compton — with no mention of Oakland at all.\u003c/p>\n\u003ch2>Pimp culture becomes pop culture\u003c/h2>\n\u003cp>Another key influence on hip-hop was Richard Pryor, who moved to Berkeley in 1969 and soaked up the city’s counterculture vibe. Pryor performed locally at venues like Laney College, and, similar to Tupac, key parts of his development came from the Bay Area before he moved to L.A. and became a superstar.\u003c/p>\n\u003cp>Pryor has been sampled in rap more than 400 times, which speaks to his street-level Black cultural perspective that placed more emphasis on barbershops, juke joints and strip clubs than churches and schools. And it was Pryor’s involvement in a 1973 movie, filmed in Oakland, that would cement his relationship to Bay Area hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg\" alt=\"\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-768x1168.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1920x2920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-scaled.jpg 1683w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mack, US poster, top from left: Max Julien, Richard Pryor, from a 1977 re-release of the film. \u003ccite>(Photo by LMPC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Mack\u003c/i> is ostensibly a cautionary tale about the rise and fall of a pimp named Goldie (Max Julien), yet it glorified the illegal sex trade and the flamboyant pimp lifestyle. The movie’s lead was based directly on the notorious Oakland pimp and drug dealer Frank Ward, and infamously featured several real-life pimps and sex workers, in exchange for cameo roles for Ward and his brothers.\u003c/p>\n\u003cp>In \u003cem>The Mack\u003c/em>, Pryor played Slim, Goldie’s partner. Another character, Fat Man, coincidentally had the same initials as infamous Oakland drug kingpin Felix Mitchell. With Goldie’s brother Olinga as a Panther-esque Black nationalist, the film’s subtext hints at the real-life tension between the Black Panthers and Oakland’s gangster underworld. It’s a dynamic that foreshadowed the divisions between conscious and gangsta rap, and predated the way Tupac and many Bay Area rappers mixed elements of both.\u003c/p>\n\u003cp>When Melvin Van Peebles’ directorial debut \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> was released in 1971, Panther leaders used their widely circulated newspaper to encourage Party members to see the film, which also featured the all-Black East Bay Dragons motorcycle club. “No distributors were supporting it,” says the Lumpen’s Dr. Saturu Ned, who worked in the Party’s newspaper office before he became a musician. “Because of the Black Panther Party, millions of people went to see the movie.”\u003c/p>\n\u003cp>\u003ci>Sweet Sweetback\u003c/i> birthed the so-called blaxploitation films of this era, championing a gritty view of street life with an undercurrent of anti-authoritarianism. The genre became a key reference point for hip-hop, along with the Panthers’ messages of Black power and resistance. [aside postid='arts_13923766']\u003c/p>\n\u003ch2>Hip-hop’s inspiration from the criminal underworld\u003c/h2>\n\u003cp>Without a doubt, one of hip-hop’s overarching themes has been the criminal underworld and the archetype of the pimp/player/hustler as hero and ghetto superstar. This, too, has significant ties to the Bay Area, and especially Oakland, which counts among its rap classics MC Pooh’s \u003ci>Life of a Criminal\u003c/i> and Too Short’s \u003ci>Born to Mack\u003c/i>.\u003c/p>\n\u003cp>In the Bay Area, a systemic devastation of Black neighborhoods created a formula for poverty. Blue-collar industrial jobs left after World War II, and the “urban renewal” of the ’60s and ’70s demolished homes and businesses in San Francisco as well as Oakland. For some, the underground economy became an appealing means of upward mobility.\u003c/p>\n\u003cp>Felix Mitchell operated out of the San Antonio Villa, a.k.a. 6-9 Ville, in East Oakland, which became the headquarters for the “69 Mob,” a criminal organization that established a nationwide heroin distribution network and employed young children as lookouts. The housing project’s notoriety extended well beyond Mitchell’s death in 1986: in 1992, the rapper Seagram released the single “The Ville,” which references “the M.O.B.” — an acronym for My Other Brother, the “official” name of Mitchell’s gang.\u003c/p>\n\u003cp>In the ’70s, the Black Panthers operated a school and community center just a few blocks from 6-9 Ville. This led to conflict over control of the neighborhood. Ned recalls that intakes at the community center for heroin overdoses were common, while the Black Resurgents’ Randolph, who lived nearby on Sunnyside and 82nd Avenue, remembers gun battles sometimes erupting between the two factions.\u003c/p>\n\u003cp>In the post-Felix Mitchell crack cocaine era, rapping about pimping, drug dealing, drive-by shootings and sideshows all became part of Oakland’s hip-hop lexicon — see Dru Down and the Luniz’ “Ice Cream Man,” Richie Rich’s “Sideshow” and “Half Thang,” or Dru Down’s “Pimp of the Year,” which stayed on the Billboard charts for 24 weeks and would often evoke boisterous sing-alongs when played in local clubs.\u003c/p>\n\u003cp>https://youtu.be/qnVtwzaw6lM\u003c/p>\n\u003cp>Mitchell himself had reportedly popularized drive-by shootings, becoming one of the inspirations for the Nino Brown character in the 1991 movie \u003ci>New Jack City\u003c/i>, which featured a hip-hop soundtrack.. And Mitchell’s rival, Milton “Mickey Mo” Moore, financed the first rap record to come out of the Bay Area: Motorcycle Mike’s “Super Rat.”\u003c/p>\n\u003cp>So while Philadelphia’s Schooly-D and L.A.’s Ice-T are often credited as the first gangsta rap artists, the genre has been heavily influenced by Bay Area criminal icons like Moore, Ward, Mitchell and San Francisco’s Fillmore Slim. Just like the Panthers predated conscious rap and progressive politics, the Bay basically been gangsta for years.\u003c/p>\n\u003ch2>Afrofuturism is at the heart of hip-hop’s imagination\u003c/h2>\n\u003cp>Not all hip-hop artists follow a street playbook. Nearly as influential as \u003ci>The Mack\u003c/i> was Sun Ra’s 1974 cult classic \u003ci>Space is the Place\u003c/i>, filmed at locations in Oakland, including the current Merritt College campus. Its origins date back to a 1971 \u003ca href=\"https://www.openculture.com/2014/07/full-lecture-and-reading-list-from-sun-ras-1971-uc-berkeley-course.html\">lecture course\u003c/a> given by Sun Ra at UC Berkeley, titled “The Black Man in the Cosmos.” The film’s convoluted plot depicts Ra as a time-traveling jazz musician who engages in a game of tarot with an “overseer” to decide the fate of the Black race. Ra eventually wins the contest thanks to his use of sound vibrations during a free jazz concert, boards a spaceship joined by young African Americans he’s recruited from Oakland, and travels to a better world.\u003c/p>\n\u003cp>Afrofuturistic themes in \u003ci>Space is the Place\u003c/i> not only preceded Parliament’s \u003ci>Clones of Dr. Funkenstein\u003c/i> and \u003ci>Mothership Connection\u003c/i> albums, but established a cultural precedent for those themes to be revisited by hip-hop, first in the electro-funk era, and subsequently through abstract, esoteric, spiritually and conceptually minded rappers and producers. In the Bay Area, Hieroglyphics’ Del the Funky Homosapien would imagine dystopian futures worthy of anime treatments; Blackalicious’ work would contain themes of technology as a means of liberation; and Zion I’s lyrics would reach towards spiritual enlightenment.\u003c/p>\n\u003cfigure id=\"attachment_13924298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924298\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra and his Sun Ra Archestra perform with a steel sculpture on September 23, 1978, at Hill Auditorium in Ann Arbor, Michigan. \u003ccite>(Leni Sinclair/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sun Ra was part of the Black Arts Movement (BAM) of the 1960s, which began in Harlem but was grounded in the Bay Area. Influential author, writer and BAM co-founder Amiri Bakara moved from New York in 1962 to teach at San Francisco State University; in 1964, he worked with a young graphic designer named Emory Douglas on set design for a play in San Francisco. Three years later, Douglas met Bobby Seale and Huey Newton at the Black Door, a Black-operated theater known for presenting avant-garde productions, and became the Black Panther’s minister of culture.\u003c/p>\n\u003cp>Douglas’ revolutionary illustrations were featured in the Panther newspaper, and went on to influence politically-minded graffiti artists and muralists worldwide, including in San Francisco’s famed Clarion Alley. The Coup’s logo, depicting a mother carrying a child in a sling while holding a rifle, is a \u003ca href=\"http://american-studies-uea.blogspot.com/2021/05/the-art-of-emory-douglas-and-asali.html\">direct descendant of Douglas’ work\u003c/a>. And during the late ’80s, a flourishing of political graffiti around the anti-apartheid movement crested into bold statements against police brutality and Christopher Columbus by Bay Area aerosol legends Mike Dream, Spie and the TDK collective in the early ’90s.\u003c/p>\n\u003cp>Baraka later became a founding board member of Oakland’s Eastside Arts Alliance, whose annual Malcolm X Jazz Arts Festival in San Antonio Park has featured hip-hop freestyle rhyme and dance cyphers, live painting in honor of Mike Dream, tributes to boogaloo, and performances by The Coup and the Last Poets’ Umar Bin Hassan. Meanwhile, Baraka’s daughter Dominique DiPrima would become the KRON-TV host of the popular Bay Area hip-hop show \u003cem>Home Turf\u003c/em>. [aside postid='arts_13906176']\u003c/p>\n\u003ch2>Spoken word, feminism\u003c/h2>\n\u003cp>From the Black Arts Movement lineage comes a local emphasis on spoken word poetry and alternative theater. This legacy of artistic expression ultimately connects pioneering poet/playwright Ntozake Shange to the hip-hop inspired Oakland poet Chinaka Hodge, and to the field of hip-hop theater explored by Marc Bamuthi Joseph in the Bay.\u003c/p>\n\u003cp>In her 1976 choreopoem \u003cem>for colored girls who’ve considered suicide/when the rainbow is enuf\u003c/em>, first performed at a lesbian bar on Solano Avenue in Albany, Shange foreshadowed women in hip-hop’s existential struggle with sexuality, self-affirmation and self-love while dealing with misogyny, toxic relationships and Black female identity. In “No More Love Poems pt 1,” Shange’s Lady in Orange describes “being left screaming in a street full of lunatics whispering slut, \u003cem>beeitch\u003c/em>…” — pronouncing the word with the same drawn-out intonation as Too Short would a decade later.\u003c/p>\n\u003cfigure id=\"attachment_13924299\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg\" alt=\"\" width=\"801\" height=\"1023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-768x981.jpg 768w\" sizes=\"auto, (max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Ntozake Shange in 1978. \u003ccite>(Barnard College/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These same themes are present to some degree in the music of Bay Area women in funk — a list that includes Little Sister, Sugar Pie DeSanto, the Brides of Funkenstein, and Betty Davis (who recorded her first two albums in San Francisco with Bay Area musicians). The Pointer Sisters, the Oakland group whose career began with the self-affirming hit “\u003ca href=\"https://youtu.be/F2U1OUxXSMM\" target=\"_blank\" rel=\"noopener\">Yes We Can Can\u003c/a>,” would later be referenced by Ice Cube, the Treacherous Three and Salt-n-Pepa.\u003c/p>\n\u003cp>As SF State professor and cultural anthropologist Dawn-Elissa Fischer points out, the tradition extends even further back. “Some of the ideas that Angela Davis and Patricia Collins write about in terms of the impact of blues women — when we talk about the Panthers, we want to remember, while there are obvious ties, there’s this longer tradition of posting, boasting and rapping in the work of blues women in the Bay Area and elsewhere.” The same ideas and themes of the blues era, she says, were magnified and amplified during the funk era, and again in the hip-hop era.\u003c/p>\n\u003cp>Fischer, a contributor to \u003cem>The Smithsonian Anthology of Hip-Hop and Rap\u003c/em> and an advisor on KQED’s \u003ci>That’s My Word\u003c/i>, regularly studies funk music as well as contemporary rap in her work, connecting dots between generational movements. She maintains the funky divas of the 1970s provided not only an artistic blueprint for rappers like the Conscious Daughters to talk about gender, sexuality and reproductive rights, but an aesthetic influence as well. Local emcee Coco Peila, she says, is an example of both, along with Mystic, Suga-T and Ryan Nicole.\u003c/p>\n\u003cp>In looking critically at the intersection of funk, boogaloo, and the Black Panthers, Fischer says, “There was a lot of labor, gender and sexuality components of all of these movements, and specifically various forms of Black power. And \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener\">Black women are a critical part of this paradigm\u003c/a>.”\u003c/p>\n\u003cp>The legacy of these movements is not only part of hip-hop history and American history, but Bay Area history specifically. What made these movements so significant and generational in their influence was their intersectional longevity. Funk, boogaloo, and social movements all spoke to each other throughout their existence. That dialogue has become a longer discussion with the advent of hip-hop, which, as it’s evolved, has carried along with it the aesthetics of past movements \u003cspan style=\"font-weight: 400\">—\u003c/span> be they Afros and boots, Black Power salutes, or tick-tocking robot moves over bass grooves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "In the ’60s and ’70s, the Black Panthers, boogaloo dancers and Sly Stone anticipated the arrival of hip-hop.",
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"title": "The Bay Area Was Hip-Hop Before There Was Hip-Hop | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13924127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from upper left: Women of the Black Panther Party (BAMPFA/Pirkle Jones Foundation); the Black Resurgents (artist photo); Ntozake Shange (John Kisch Archive/Getty Images); Sun Ra in ‘Space is the Place’ (Harte Recordings); Sly Stone (CBS Records).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> This story is part of\u003c/span>\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> \u003cspan style=\"font-weight: 400\">That’s My Word\u003c/span>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cem>“People in the house, this is just for you/ A little rap to make you boogaloo”\u003c/em>\u003cbr>\n—The Sugarhill Gang, 1979\u003c/p>\n\u003cp>Grandmaster Caz, the Bronx pioneer who ghostwrote the Sugarhill Gang’s groundbreaking 1979 single “\u003ca href=\"https://www.youtube.com/watch?v=rKTUAESacQM\">Rapper’s Delight\u003c/a>,” once said, “Hip-hop didn’t invent anything. Hop-hop reinvented everything.”\u003c/p>\n\u003cp>That statement rings truer than ever as we approach the 50th anniversary of Kool Herc’s first party in the Bronx, where the globally influential music and culture were born. And it especially rings true here in the Bay Area.\u003c/p>\n\u003cp>Hip-hop wasn’t fully formed in 1973. In fact, it didn’t have an official name until 1982, the year the \u003ci>Village Voice\u003c/i> published a \u003ca href=\"https://digital.library.cornell.edu/catalog/ss:16057641\">profile of Zulu Nation founder Afrika Bambaataa\u003c/a>. Before Bambaataa joined the Black Spades street gang as a teenager, he hung out at the local Black Panther Information Center, and “his political leanings were encouraged by the appearance of songs like ‘Say It Loud, I’m Black and I’m Proud’ by James Brown and ‘Stand!’ by Sly and the Family Stone,” Steven Hager wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, two of the three cultural influences cited in one of the earliest known print references to hip-hop are from the Bay Area. Oh word? Say that then.\u003c/p>\n\u003cp>No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized. A thorough exploration of the Bay’s cultural and political movements of the 1960s and ’70s strongly suggests the Bay was hip-hop before there was hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg\" alt=\"illustrations of huey newton and sly stone\" width=\"800\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1020x543.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-768x409.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1536x818.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Bay Area, both Huey Newton and Sly Stone (L–R) helped sow the seeds of what would later be referred to as hip-hop. \u003ccite>(Illustrations by Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Consider this: Before he became a funk superstar, Sly Stone was a fast-talking radio personality whose \u003ca href=\"https://soundcloud.com/djstef415/sly-stone-on-ksol-1967\">on-air patter\u003c/a>, laden with hep phrases, took the form of rapping before rap music. When it came to dance, the Bay Area had boogaloo, robotting and strutting, whose innovative moves preceded b-boying by almost 10 years. (There’s even evidence of breakdancing crews at local talent shows prior to nationwide releases of \u003cem>Breakin’\u003c/em> and \u003cem>Beat Street\u003c/em>.)\u003c/p>\n\u003cp>The \u003ca href=\"https://en.wikipedia.org/wiki/Wall_of_Respect\">community mural movement\u003c/a>, which parallels the \u003ca href=\"https://blogs.cuit.columbia.edu/ijt2106/moment-of-departure/the-emergence-of-modern-graffiti/\">modern graffiti movement\u003c/a>, took root in the Bay before wildstyle frescoes appeared on New York subway trains. The Bay Area’s \u003ca href=\"https://legionsofboom.com/\">Filipino American mobile DJ scene\u003c/a> dates back to garage parties in the 1970s in South San Francisco and Daly City.\u003c/p>\n\u003cp>Consider also that the iconography of hip-hop was shaped by Bay Area activists, as well as street-level archetypes of badmen and tricksters whose legend became \u003ca href=\"https://www.youtube.com/watch?v=CsXK4_D6ByA\">urban folklore\u003c/a>. A key reason the Bay Area became an early adopter of hip-hop was because its culture not only anticipated its arrival, but contributed to its essence during its developmental stages.\u003c/p>\n\u003cfigure id=\"attachment_13924289\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BPP2.png\" alt=\"\" width=\"615\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2-160x216.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">A 1971 flyer for a Black Panther Party rally calling for Bobby Seale, Ericka Huggins, Angela Davis and Ruchell Magee to be freed from prison. \u003ccite>(Courtesy of Black Panther Party Alumni Legacy Network)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Black Panthers lay hip-hop’s ideological foundation\u003c/h2>\n\u003cp>Hip-hop began as an underground artform created by inner city youth with few resources, who were dynamic in how they expressed their style and identity. Much of its ideology and political viewpoints were shaped by the Black Panthers, who were founded in Oakland in 1966 and grew to 38 national chapters within two years.\u003c/p>\n\u003cp>The Black Panthers had a distinct influence on people like dancer Will “Mr. Penguin” Randolph, an early practitioner of boogaloo and co-founder of the dance crew the \u003ca href=\"https://www.blackresurgents.com/\">Black Resurgents.\u003c/a> Randolph, who grew up in East Oakland, remembers how the Panthers used culture to engage young people and push their revolutionary message.\u003c/p>\n\u003cp>“They had all these rallies with Elaine Brown and different people, and the Black Resurgents were the unofficial official dance group,” Randolph says. “And they would use us to draw the adults in to talk about the city’s plight politically. It was just phenomenal.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener\">The Lumpen\u003c/a>, a Black Panther-affiliated touring funk band, spread the party’s message around the country. It’s no coincidence that groups like the Chi-Lites, the O’Jays and the Isley Brothers began to reference Panther talking points on songs like “\u003ca href=\"https://youtu.be/qEwMaeN2x-c\" target=\"_blank\" rel=\"noopener\">Give More Power to the People\u003c/a>,” “\u003ca href=\"https://youtu.be/uebYua_vdPc\" target=\"_blank\" rel=\"noopener\">Give the People What They Want\u003c/a>” and “\u003ca href=\"https://youtu.be/8QZvoOqUkqw\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>.”\u003c/p>\n\u003cp>“You have to consider that the Black Panther ideology was steeped in, as are most cultural ideas, in the music of the day,” Randolph says. “The grittiness of the blue collar town of Oakland, and the rise of the ideology of the Black Panther Party, and the rise of the funk music of the town all came together.”\u003c/p>\n\u003cp>In the hip-hop era, children of Black Panthers like Tupac Shakur and Digital Underground’s Money B — known as “Panther cubs” — would be the ones to carry the Panthers’ vision for Black liberation forward. There’s no “\u003ca href=\"https://youtu.be/zfuF2jOeUx8\" target=\"_blank\" rel=\"noopener\">Rebel of the Underground\u003c/a>,” an early agitprop Tupac song, without the Black Panthers. No “Break the Grip of Shame,” the classic 1990 single by San Francisco rapper Paris, either.\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/HJ96GPtnH70'\n title='//www.youtube.com/embed/HJ96GPtnH70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hip-hop activism’s cornerstone issues, police reform and the prison-industrial complex, contain obvious through-lines back to the Black Panthers. In 1966, the Panthers’ manifesto, the Ten-Point Program, stated, “We Want An Immediate End to Police Brutality and the Murder of Black People,” followed by a call for “all Black People (to) be released from the many jails and prisons.”\u003c/p>\n\u003cp>N.W.A’s “Fuck Tha Police” seemed outrageous in 1989, but became prescient three years later, when LAPD officers were caught on video beating Rodney King. Political rappers like Public Enemy and KRS-One often harbored strong anti-police views, which were shared by such less-likely sources as New York’s L.L. Cool J and Houston’s UGK, on down to Vallejo’s The Mac.\u003c/p>\n\u003cp>Before the NYPD killing of Amadou Diallo inspired the Hip Hop for Respect project in 2000, the 1995 death of Aaron Williams in SFPD custody led to hip-hop activist organization Third Eye Movement protesting the SF Police Commission, and later resisting California’s Juvenile Crime initiative, Prop. 21. In 2009, Mistah F.A.B., Boots Riley and other local hip-hop artists took part in \u003ca href=\"https://www.kqed.org/arts/13847704/after-oscar-grant-oakland-artists-inspired-a-new-generation-of-activists\" target=\"_blank\" rel=\"noopener\">protests against Oscar Grant’s killing\u003c/a> by BART police.\u003c/p>\n\u003cp>More recently, the 2016 \u003ca href=\"https://www.kqed.org/arts/11537324/equiptos-hunger-strike-the-importance-of-art-in-social-change\" target=\"_blank\" rel=\"noopener\">Frisco Five\u003c/a> hunger strike, spearheaded by rapper Equipto, resulted in SFPD reform. In 2020, \u003ca href=\"https://www.kqed.org/arts/13881529/photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls\" target=\"_blank\" rel=\"noopener\">graffiti artists and muralists took to the Oakland streets\u003c/a> in response to George Floyd’s murder.\u003c/p>\n\u003cp>Over the past decade, activists have rallied around the Black Lives Matter movement, and it’s no coincidence that the phrase was first coined by Black Lives Matter cofounder Alicia Garza, in Oakland, the home of the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_12159957\" class=\"wp-caption aligncenter\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/H95.18.802-398x600.jpg\" alt=\"Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-784x1180.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-1180x1777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802.jpg 1793w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before conscious rap, funk brought the message\u003c/h2>\n\u003cp>In the Bay Area, funk music was inextricably linked to the revolutionary movements of the 1960s. Beyond the Black Panthers were the Brown Berets, the Third World Liberation Front and the anti-Vietnam War movement, all animating young people to fight against an oppressive social order. One artist that emerged from this climate and eventually became one of hip-hop’s major influences was Sly Stone. A Vallejo-raised champion of multiculturalism and progressive social values, Sly transformed Black music during the ’60s and ’70s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/6QO0SJgNdiPaDRpwHMPySi?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Sly’s records often contained social commentary that mixed the personal with the political. “Stand!” is an anthem of self-determination positing that freedom is attainable “at least in your mind if you want to be”; Sly released similarly-themed songs like “\u003ca href=\"https://youtu.be/l8sz_7TPWE0\" target=\"_blank\" rel=\"noopener\">You Can Make It If You Try\u003c/a>,” “\u003ca href=\"https://youtu.be/HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>” and “\u003ca href=\"https://youtu.be/Ruq2HJGs31g\" target=\"_blank\" rel=\"noopener\">Skin I’m In\u003c/a>.”\u003c/p>\n\u003cp>In addition to his contributions to hip-hop’s lexicon — Sly and the Family Stone’s album \u003ci>Fresh\u003c/i> predates hip-hop’s popularizing of the term by at least a decade — there’s the music itself, which has become part of hip-hop’s genetic code. According to online sample databases, Sly and The Family Stone’s music has been sampled an astounding 967 times — up there with James Brown and the Meters.\u003c/p>\n\u003cp>Greg Errico’s drums on “\u003ca href=\"https://youtu.be/42YGprrAOj0\" target=\"_blank\" rel=\"noopener\">Sing A Simple Song\u003c/a>” alone have resurfaced in gangsta, alternative and even international rap songs, including Digital Underground’s “\u003ca href=\"https://youtu.be/PBsjggc5jHM\" target=\"_blank\" rel=\"noopener\">The Humpty Dance\u003c/a>,” Tupac’s “\u003ca href=\"https://youtu.be/skg0w8DpEe4\" target=\"_blank\" rel=\"noopener\">Temptations\u003c/a>,” Public Enemy’s “\u003ca href=\"https://youtu.be/mmo3HFa2vjg\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>,” KRS-One’s “\u003ca href=\"https://youtu.be/9ZrAYxWPN6c\" target=\"_blank\" rel=\"noopener\">Sound of Da Police\u003c/a>,” A Tribe Called Quest’s “\u003ca href=\"https://youtu.be/cxN4nKk2cfk\" target=\"_blank\" rel=\"noopener\">Jazz\u003c/a>” and countless others.\u003c/p>\n\u003cp>Family Stone bassist and Oakland native Larry Graham’s slap-bass technique, prominently displayed on 1968’s “\u003ca href=\"https://youtu.be/N5BP2KlPD4U\" target=\"_blank\" rel=\"noopener\">Thank You (Falettinme Be Mice Elf Again)\u003c/a>,” became a defining characteristic of funk, later used by musicians like Bootsy Collins as well as Chic’s Bernard Edwards, whose “Good Times” bassline would later drive “Rapper’s Delight.” \u003c/p>\u003c/div>",
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"content": "No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sly also created a template for the artist-producer and independent label entrepreneur. He produced other artists for his short-lived Stone Flower label, often playing every musical instrument. His production of Little Sister’s “Somebody’s Watching You” became the first Top 40 hit to use electronic drums — a staple of nearly all hip-hop production.\u003c/p>\n\u003cp>“I feel like particularly with Sly, [he’s] part of the whole kind of mashup of the streets and the church,” says Lateef Daumont, a Panther cub best known as hip-hop artist Lateef the Truthspeaker of the Quannum collective. “They just had all of the things that would be blueprints for hip-hop later on — even business-wise, in a lot of ways.”\u003c/p>\n\u003cp>“Sly was the integrationist,” says author and educator Cecil Brown, a Berkeley resident during the ’70s who taught at Merritt College’s former campus on Grove Street (now Martin Luther King Jr. Way) in Oakland. “Also, Sly had an element of militancy in him, too, that was \u003cem>not\u003c/em> flower power, you know? It was like, ‘We got something that is going to make us feel better, and that belongs to us.’”\u003c/p>\n\u003cfigure id=\"attachment_13898274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898274\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sly Stone in a still from Questlove’s new film ‘Summer of Soul.’ \u003ccite>(Courtesy of Mass Distraction Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remarkably, Stone was able to cross over to the pop charts while maintaining an unapologetically Black identity. In a \u003ca href=\"https://www.youtube.com/watch?v=zDOyaGvOyPk\">1974 clip from \u003ci>The Mike Douglas Show\u003c/i>\u003c/a>, Sly is asked if his young, white middle-class fans know what he’s singing about. “Yeah, they know,” he says. Hip-hop exemplifies the same paradigm: It appeals to white youth precisely because it offers entry into a different cultural space, with its own reference points and vernacular.\u003c/p>\n\u003cp>Just as The Coup’s Boots Riley performed his song “\u003ca href=\"https://youtu.be/_2bkG0wwdXc\" target=\"_blank\" rel=\"noopener\">Underdogs\u003c/a>” during the Occupy Oakland demonstrations of 2011, Sly occasionally performed at Black Panther rallies while living in Oakland. His ear-to-the-street perspective, containing equal parts optimism and cynicism, is evidenced by the No. 1 album \u003ci>There’s A Riot Goin’ On\u003c/i>, released in 1971. As cultural critic Okla Jones wrote on the occasion of the album’s 50th anniversary, “America was a nation in transition, feeling the effects of the previous decade. The shadow of Dr. King’s assassination loomed over the Black community, and the Vietnam War divided an entire country. What Sly and the Family Stone’s fifth album did was give a voice to a new generation yearning to be heard.”\u003c/p>\n\u003cp>This dynamic — young people speaking their minds and determining their own identities through cultural expression — not only defined the early ’70s but connected the funk era to the rap era. Once you depart from the New York-centric breakbeat aesthetic, funk becomes \u003cem>the\u003c/em> defining element of hip-hop’s sound, particularly in the Southern United States and parts of the Midwest, and especially in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851562\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/lumpen_stage-800x523.jpg\" alt=\"The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-768x502.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther funk band The Lumpen performed between 1970 and 1972; afterwards, party leadership assigned its members to other roles within the organization. \u003ccite>(Courtesy of itsabouttime.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before breaking, the Bay had boogaloo\u003c/h2>\n\u003cp>The dance style known as Oakland boogaloo began in the 1960s with R&B and soul as its soundtrack, but the emergence of funk raised the bar for creative expression. “The thumping of the bass and the snapping of the snare drum and the thumping of the bass drum, you started to see people doing this free-form movement, with a hit and with body contortions,” says Will Randolph, whose group the Black Resurgents once performed during a 1977 Parliament concert at the Oakland Coliseum Arena, where they emerged from the iconic mothership in front of more than 10,000 fans.\u003c/p>\n\u003cp>“When you talk about hip-hop dance, primarily people think of breaking and popping,” Randolph says. “When you talk about street dance on a nationwide level prior to hip-hop dance coming out of primarily New York, you have this whole West Coast sea of dance and street dance. The Bay Area in particular is really the debut for hip-hop.”\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/IUdS6kxw2aI'\n title='//www.youtube.com/embed/IUdS6kxw2aI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the mid-1960s to the early ’70s, years before hip-hop had a name, Oakland groups like the Black Resurgents, One Plus One, the Black Messengers and Pirate and the Easy Walkers perfected moves that would become part of the hip-hop dance vernacular.\u003c/p>\n\u003cp>“What I’m saying is that boogaloo, robotting, and strutting dance styles predate hip-hop as a culture, as a name, and even hip-hop dance as an artform,” says Randolph. (In 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=QDApdzFa3OI\">U Make Me Want Some\u003c/a>,” Mac Dre’s mentor and namesake The Mac even raps: “You can do the boogaloo / Like they used to do in 1972.”)\u003c/p>\n\u003cp>As boogaloo branched off into Richmond robotting and San Francisco strutting in the mid-1970s to become the predominant form of urban youth culture in the Bay Area, dancers adopted the sartorial flamboyance associated with pimps, incorporating top hats, canes and pointy-toed shoes into their aesthetic. White gloves created a mesmerizing effect under blacklight during performances in dark halls.\u003c/p>\n\u003cp>Fueled by talent show competitions, which brought local fame and popularity, the artform continued to develop into the early ’80s. Synchronized group routines, costumes, and stage props all became part of the mix. Most routines developed for competitions were performed just once. Some groups practiced in secret so no one could steal their moves. (The Black Resurgents were an exception; they were known to practice in front of an open window, often drawing crowds from their neighborhood.)\u003c/p>\n\u003cp>Coded signals between dancers would indicate they were participants in the same culture and ready to battle at a moment’s notice, such as popping one’s collar — which later became a signature hallmark of Bay Area hip-hop expression. Being known as a boogaloo, strutter or robotter also conferred social status, and could give practitioners a ghetto pass through hostile territory or nullify threats of violence altogether.\u003c/p>\n\u003cp>As boogaloo spread in the latter half of the ’70s to San Jose, Sacramento, Fresno and Los Angeles, a move originally known as “The Oakland Hit” became the “pop,” and blended with the locking style indigenous to Southern California. Pop-locking was born.\u003c/p>\n\u003cfigure id=\"attachment_13924302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg\" alt=\"\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8.jpg 924w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Resurgents on ‘The Jay Payton Show,’ July 18, 1976. \u003ccite>(Courtesy AAMLO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the Bay Area’s contributions didn’t make the history books. In 1979, the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=rkejPbx9zSI\">appeared on \u003ci>Soul Train\u003c/i>\u003c/a> and were erroneously announced as the originators of boogaloo by host Don Cornelius. Boogaloo also spread to New York through Bay Area dancers like Jerry Rentie, who served active military duty there, but wasn’t recognized as a distinct style by New York rappers like Run-DMC, who said “let the poppers pop and the breakers break” on 1984’s “Rock Box.”\u003c/p>\n\u003cp>The Northern California origins of popping became further obscured when breakdancing arrived on the West Coast in the early ’80s, and boogaloo, strutting, robotting, popping and breaking were all subsumed into the amalgamation of hip-hop dance. In “\u003ca href=\"https://youtu.be/HshF2AOx4VM\" target=\"_blank\" rel=\"noopener\">West Coast Pop Lock\u003c/a>,” a 1982 hit for Ronnie Hudson that most know as the hook of Tupac’s “California Love,” Hudson shouts out Los Angeles, Watts and Compton — with no mention of Oakland at all.\u003c/p>\n\u003ch2>Pimp culture becomes pop culture\u003c/h2>\n\u003cp>Another key influence on hip-hop was Richard Pryor, who moved to Berkeley in 1969 and soaked up the city’s counterculture vibe. Pryor performed locally at venues like Laney College, and, similar to Tupac, key parts of his development came from the Bay Area before he moved to L.A. and became a superstar.\u003c/p>\n\u003cp>Pryor has been sampled in rap more than 400 times, which speaks to his street-level Black cultural perspective that placed more emphasis on barbershops, juke joints and strip clubs than churches and schools. And it was Pryor’s involvement in a 1973 movie, filmed in Oakland, that would cement his relationship to Bay Area hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg\" alt=\"\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-768x1168.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1920x2920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-scaled.jpg 1683w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mack, US poster, top from left: Max Julien, Richard Pryor, from a 1977 re-release of the film. \u003ccite>(Photo by LMPC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Mack\u003c/i> is ostensibly a cautionary tale about the rise and fall of a pimp named Goldie (Max Julien), yet it glorified the illegal sex trade and the flamboyant pimp lifestyle. The movie’s lead was based directly on the notorious Oakland pimp and drug dealer Frank Ward, and infamously featured several real-life pimps and sex workers, in exchange for cameo roles for Ward and his brothers.\u003c/p>\n\u003cp>In \u003cem>The Mack\u003c/em>, Pryor played Slim, Goldie’s partner. Another character, Fat Man, coincidentally had the same initials as infamous Oakland drug kingpin Felix Mitchell. With Goldie’s brother Olinga as a Panther-esque Black nationalist, the film’s subtext hints at the real-life tension between the Black Panthers and Oakland’s gangster underworld. It’s a dynamic that foreshadowed the divisions between conscious and gangsta rap, and predated the way Tupac and many Bay Area rappers mixed elements of both.\u003c/p>\n\u003cp>When Melvin Van Peebles’ directorial debut \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> was released in 1971, Panther leaders used their widely circulated newspaper to encourage Party members to see the film, which also featured the all-Black East Bay Dragons motorcycle club. “No distributors were supporting it,” says the Lumpen’s Dr. Saturu Ned, who worked in the Party’s newspaper office before he became a musician. “Because of the Black Panther Party, millions of people went to see the movie.”\u003c/p>\n\u003cp>\u003ci>Sweet Sweetback\u003c/i> birthed the so-called blaxploitation films of this era, championing a gritty view of street life with an undercurrent of anti-authoritarianism. The genre became a key reference point for hip-hop, along with the Panthers’ messages of Black power and resistance. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Hip-hop’s inspiration from the criminal underworld\u003c/h2>\n\u003cp>Without a doubt, one of hip-hop’s overarching themes has been the criminal underworld and the archetype of the pimp/player/hustler as hero and ghetto superstar. This, too, has significant ties to the Bay Area, and especially Oakland, which counts among its rap classics MC Pooh’s \u003ci>Life of a Criminal\u003c/i> and Too Short’s \u003ci>Born to Mack\u003c/i>.\u003c/p>\n\u003cp>In the Bay Area, a systemic devastation of Black neighborhoods created a formula for poverty. Blue-collar industrial jobs left after World War II, and the “urban renewal” of the ’60s and ’70s demolished homes and businesses in San Francisco as well as Oakland. For some, the underground economy became an appealing means of upward mobility.\u003c/p>\n\u003cp>Felix Mitchell operated out of the San Antonio Villa, a.k.a. 6-9 Ville, in East Oakland, which became the headquarters for the “69 Mob,” a criminal organization that established a nationwide heroin distribution network and employed young children as lookouts. The housing project’s notoriety extended well beyond Mitchell’s death in 1986: in 1992, the rapper Seagram released the single “The Ville,” which references “the M.O.B.” — an acronym for My Other Brother, the “official” name of Mitchell’s gang.\u003c/p>\n\u003cp>In the ’70s, the Black Panthers operated a school and community center just a few blocks from 6-9 Ville. This led to conflict over control of the neighborhood. Ned recalls that intakes at the community center for heroin overdoses were common, while the Black Resurgents’ Randolph, who lived nearby on Sunnyside and 82nd Avenue, remembers gun battles sometimes erupting between the two factions.\u003c/p>\n\u003cp>In the post-Felix Mitchell crack cocaine era, rapping about pimping, drug dealing, drive-by shootings and sideshows all became part of Oakland’s hip-hop lexicon — see Dru Down and the Luniz’ “Ice Cream Man,” Richie Rich’s “Sideshow” and “Half Thang,” or Dru Down’s “Pimp of the Year,” which stayed on the Billboard charts for 24 weeks and would often evoke boisterous sing-alongs when played in local clubs.\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/qnVtwzaw6lM'\n title='//www.youtube.com/embed/qnVtwzaw6lM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mitchell himself had reportedly popularized drive-by shootings, becoming one of the inspirations for the Nino Brown character in the 1991 movie \u003ci>New Jack City\u003c/i>, which featured a hip-hop soundtrack.. And Mitchell’s rival, Milton “Mickey Mo” Moore, financed the first rap record to come out of the Bay Area: Motorcycle Mike’s “Super Rat.”\u003c/p>\n\u003cp>So while Philadelphia’s Schooly-D and L.A.’s Ice-T are often credited as the first gangsta rap artists, the genre has been heavily influenced by Bay Area criminal icons like Moore, Ward, Mitchell and San Francisco’s Fillmore Slim. Just like the Panthers predated conscious rap and progressive politics, the Bay basically been gangsta for years.\u003c/p>\n\u003ch2>Afrofuturism is at the heart of hip-hop’s imagination\u003c/h2>\n\u003cp>Not all hip-hop artists follow a street playbook. Nearly as influential as \u003ci>The Mack\u003c/i> was Sun Ra’s 1974 cult classic \u003ci>Space is the Place\u003c/i>, filmed at locations in Oakland, including the current Merritt College campus. Its origins date back to a 1971 \u003ca href=\"https://www.openculture.com/2014/07/full-lecture-and-reading-list-from-sun-ras-1971-uc-berkeley-course.html\">lecture course\u003c/a> given by Sun Ra at UC Berkeley, titled “The Black Man in the Cosmos.” The film’s convoluted plot depicts Ra as a time-traveling jazz musician who engages in a game of tarot with an “overseer” to decide the fate of the Black race. Ra eventually wins the contest thanks to his use of sound vibrations during a free jazz concert, boards a spaceship joined by young African Americans he’s recruited from Oakland, and travels to a better world.\u003c/p>\n\u003cp>Afrofuturistic themes in \u003ci>Space is the Place\u003c/i> not only preceded Parliament’s \u003ci>Clones of Dr. Funkenstein\u003c/i> and \u003ci>Mothership Connection\u003c/i> albums, but established a cultural precedent for those themes to be revisited by hip-hop, first in the electro-funk era, and subsequently through abstract, esoteric, spiritually and conceptually minded rappers and producers. In the Bay Area, Hieroglyphics’ Del the Funky Homosapien would imagine dystopian futures worthy of anime treatments; Blackalicious’ work would contain themes of technology as a means of liberation; and Zion I’s lyrics would reach towards spiritual enlightenment.\u003c/p>\n\u003cfigure id=\"attachment_13924298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924298\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra and his Sun Ra Archestra perform with a steel sculpture on September 23, 1978, at Hill Auditorium in Ann Arbor, Michigan. \u003ccite>(Leni Sinclair/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sun Ra was part of the Black Arts Movement (BAM) of the 1960s, which began in Harlem but was grounded in the Bay Area. Influential author, writer and BAM co-founder Amiri Bakara moved from New York in 1962 to teach at San Francisco State University; in 1964, he worked with a young graphic designer named Emory Douglas on set design for a play in San Francisco. Three years later, Douglas met Bobby Seale and Huey Newton at the Black Door, a Black-operated theater known for presenting avant-garde productions, and became the Black Panther’s minister of culture.\u003c/p>\n\u003cp>Douglas’ revolutionary illustrations were featured in the Panther newspaper, and went on to influence politically-minded graffiti artists and muralists worldwide, including in San Francisco’s famed Clarion Alley. The Coup’s logo, depicting a mother carrying a child in a sling while holding a rifle, is a \u003ca href=\"http://american-studies-uea.blogspot.com/2021/05/the-art-of-emory-douglas-and-asali.html\">direct descendant of Douglas’ work\u003c/a>. And during the late ’80s, a flourishing of political graffiti around the anti-apartheid movement crested into bold statements against police brutality and Christopher Columbus by Bay Area aerosol legends Mike Dream, Spie and the TDK collective in the early ’90s.\u003c/p>\n\u003cp>Baraka later became a founding board member of Oakland’s Eastside Arts Alliance, whose annual Malcolm X Jazz Arts Festival in San Antonio Park has featured hip-hop freestyle rhyme and dance cyphers, live painting in honor of Mike Dream, tributes to boogaloo, and performances by The Coup and the Last Poets’ Umar Bin Hassan. Meanwhile, Baraka’s daughter Dominique DiPrima would become the KRON-TV host of the popular Bay Area hip-hop show \u003cem>Home Turf\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Spoken word, feminism\u003c/h2>\n\u003cp>From the Black Arts Movement lineage comes a local emphasis on spoken word poetry and alternative theater. This legacy of artistic expression ultimately connects pioneering poet/playwright Ntozake Shange to the hip-hop inspired Oakland poet Chinaka Hodge, and to the field of hip-hop theater explored by Marc Bamuthi Joseph in the Bay.\u003c/p>\n\u003cp>In her 1976 choreopoem \u003cem>for colored girls who’ve considered suicide/when the rainbow is enuf\u003c/em>, first performed at a lesbian bar on Solano Avenue in Albany, Shange foreshadowed women in hip-hop’s existential struggle with sexuality, self-affirmation and self-love while dealing with misogyny, toxic relationships and Black female identity. In “No More Love Poems pt 1,” Shange’s Lady in Orange describes “being left screaming in a street full of lunatics whispering slut, \u003cem>beeitch\u003c/em>…” — pronouncing the word with the same drawn-out intonation as Too Short would a decade later.\u003c/p>\n\u003cfigure id=\"attachment_13924299\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg\" alt=\"\" width=\"801\" height=\"1023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-768x981.jpg 768w\" sizes=\"auto, (max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Ntozake Shange in 1978. \u003ccite>(Barnard College/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These same themes are present to some degree in the music of Bay Area women in funk — a list that includes Little Sister, Sugar Pie DeSanto, the Brides of Funkenstein, and Betty Davis (who recorded her first two albums in San Francisco with Bay Area musicians). The Pointer Sisters, the Oakland group whose career began with the self-affirming hit “\u003ca href=\"https://youtu.be/F2U1OUxXSMM\" target=\"_blank\" rel=\"noopener\">Yes We Can Can\u003c/a>,” would later be referenced by Ice Cube, the Treacherous Three and Salt-n-Pepa.\u003c/p>\n\u003cp>As SF State professor and cultural anthropologist Dawn-Elissa Fischer points out, the tradition extends even further back. “Some of the ideas that Angela Davis and Patricia Collins write about in terms of the impact of blues women — when we talk about the Panthers, we want to remember, while there are obvious ties, there’s this longer tradition of posting, boasting and rapping in the work of blues women in the Bay Area and elsewhere.” The same ideas and themes of the blues era, she says, were magnified and amplified during the funk era, and again in the hip-hop era.\u003c/p>\n\u003cp>Fischer, a contributor to \u003cem>The Smithsonian Anthology of Hip-Hop and Rap\u003c/em> and an advisor on KQED’s \u003ci>That’s My Word\u003c/i>, regularly studies funk music as well as contemporary rap in her work, connecting dots between generational movements. She maintains the funky divas of the 1970s provided not only an artistic blueprint for rappers like the Conscious Daughters to talk about gender, sexuality and reproductive rights, but an aesthetic influence as well. Local emcee Coco Peila, she says, is an example of both, along with Mystic, Suga-T and Ryan Nicole.\u003c/p>\n\u003cp>In looking critically at the intersection of funk, boogaloo, and the Black Panthers, Fischer says, “There was a lot of labor, gender and sexuality components of all of these movements, and specifically various forms of Black power. And \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener\">Black women are a critical part of this paradigm\u003c/a>.”\u003c/p>\n\u003cp>The legacy of these movements is not only part of hip-hop history and American history, but Bay Area history specifically. What made these movements so significant and generational in their influence was their intersectional longevity. Funk, boogaloo, and social movements all spoke to each other throughout their existence. That dialogue has become a longer discussion with the advent of hip-hop, which, as it’s evolved, has carried along with it the aesthetics of past movements \u003cspan style=\"font-weight: 400\">—\u003c/span> be they Afros and boots, Black Power salutes, or tick-tocking robot moves over bass grooves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'It's Bittersweet': The Story Behind RBL Posse’s ‘A Lesson to Be Learned’ Cover Photo",
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"content": "\u003cp>\u003cb>\u003ci>Editor’s note: \u003c/i>\u003c/b>\u003ci>This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003cem>RBL Posse’s debut album \u003c/em>A Lesson to Be Learned\u003cem> is a Bay Area classic that sold over 220,000 copies and put Hunters Point on the map. Here, RBL Posse’s \u003ca href=\"https://www.instagram.com/blackc/?hl=en\">Black C\u003c/a>, a.k.a. Christian Mathews, recalls the neighborhood circumstances surrounding the album’s iconic cover photo.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Location\u003c/strong>: Harbor and Northridge Roads, Hunters Point, San Francisco\u003cbr>\n\u003cstrong>As told to\u003c/strong>: Gabe Meline \u003c/em>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he day we shot the cover for \u003cem>Lesson to be Learned\u003c/em>, we were just trying to represent our neighborhood.\u003c/p>\n\u003cp>Back then, an album cover was more about the eye candy — you pick it up and you see a bunch of guys on it, spray paint on the wall, stuff like that, and it makes you curious. I was really influenced by N.W.A. and the Geto Boys, so even though it was only me and Mr. Cee rapping in RBL, I gathered up a couple of my friends from the neighborhood to be in the picture. This is back when you had, like, \u003ca href=\"https://i.discogs.com/o1OhlCJWFiJN08RD3rFLuohEgsk6weI76QpEQ1CT39o/rs:fit/g:sm/q:90/h:600/w:597/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTEyMzM3/NTgtMTIwMjU2MTgz/NC5qcGVn.jpeg\">posse photos\u003c/a>. It attracted attention. People was like, “Oh, that’s a \u003cem>crew\u003c/em> — where they from?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I told them dudes to go put on they RBL jackets, ’cause we all had RBL jackets made at Serramonte shopping mall. And we just had one of those little wind-up Kodak cameras, the kind you buy from Walgreens. My little brother Acie Matthews took the picture. He wasn’t a professional. He was just the only one out there with us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13923773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Lesson.cover_.jpg\" alt=\"\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Lesson.cover_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Lesson.cover_-160x160.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>We tried a few different things that day. We had a song called “More Like an Orgy,” where I talk about rollin’ four deep in a mail Jeep, so we actually did a photo with the mail Jeep. We did a photo on top of the building by the Harbor Road sign. I wish I still had those photos.\u003c/p>\n\u003cp>And then we took a couple photos there in the basketball court, because not only did it have a lot of our names on the walls with spraypaint, but it was an area where we all gathered. We were doing barbecues there, shooting dice, hanging out, playing hunches. It was just a staple in our neighborhood. [pullquote citation='Black C' size='large' align='right']‘I look at that picture and get happy, and then at times I’m sad about the whole thing. I have dudes behind me in the picture who really didn’t have my back. It’s bittersweet.’[/pullquote]\u003c/p>\n\u003cp>The picture we actually used, sitting up on the stairs at the basketball court, that one just stood out to me. It had that grimy look and represented us, you know, it just represented our neighborhood. Anybody that’s seen that picture, especially from Hunters Point, knew exactly where that was that. They knew that was our road.\u003c/p>\n\u003cfigure id=\"attachment_13923776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-800x526.jpg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBL Posse perform at the basketball court on Harbor Road, where the cover photo for ‘A Lesson to Be Learned’ was taken. \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did so many things at the basketball court. I got shot and lost my eye close by there. We learned how to fight there. Learned how to play basketball. Our first concert we ever did in the neighborhood was done there. Back when we was hustling, that’s where everybody was at, from the OGs down to the youngsters.\u003c/p>\n\u003cp>At the time, I was living at 27 Harbor Road, the next building over. Before I even got outside and started hustling, I used to run to the candy house across the street, down them stairs across from the basketball court. I was doing store runs down to Surfside Liquors — that’s Bob’s store — or going to the candy house for the OGs that was around there hustlin’.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nhRJnuCrAoM\u003c/p>\n\u003cp>Looking at that photo now, it’s happy and it’s sad. I think about the day we took it, how we was all together, and havin’ fun. We was just happy about RBL. We had no idea it was going to take off like it did. The song “Don’t Give Me No Bammer Weed” — I knew that was hot because of what it did locally for us. I knew we had a hit on our hands. Everybody was excited, everybody had RBL jackets, and the whole neighborhood then, it was unity.\u003c/p>\n\u003cp>But then also when I look at that photo, that same album caused a divide. It brought jealousy to the dudes within the camp. The guy that’s standin’ up behind Mr. Cee — Boobie, me and him fell apart, and it split the turf in half, and that kind of caused the demise of Mr. Cee, him getting killed. I look at that picture and get happy, and then at times I’m sad about the whole thing. I have dudes behind me in the picture who really didn’t have my back. It’s bittersweet.\u003c/p>\n\u003cfigure id=\"attachment_13924411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-800x535.jpg\" alt=\"A man in black leans out the drivers-side window of a vintage teal-blue car with buildings in the background\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1920x1284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBL Posse’s Black C in his 1966 Skylark on Harbor Road in Hunters Point, circa 1990s. \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing on the right-hand side, that’s Lil’ Mo, I still deal with him. Rest in peace to his sister, my kid’s mom — Lil’ Mo’s her brother. And that’s me in front of him with a beanie hat on.\u003c/p>\n\u003cp>And then in the middle you have Curtis. He’s dead now. He was one of the guys that I didn’t get along with later on. He switched up on them after we left and became a snitch, worked for the state or something. But he ended up getting killed some years back in Oakland.\u003c/p>\n\u003cp>And then you have Mr. Cee to the left of him, at the bottom. Rest in peace, Mr. Cee, that was my partner.\u003c/p>\n\u003cp>The one at the top above Mr. Cee, that’s Boobie. He just got out from doing 19 years. The whole thing with Boobie and them, when the turf split up, they became Big Block and they kind of went against us, and the whole stuff happened. The feds came in, took them to jail, and Curtis told on Boobie and a few other people.\u003c/p>\n\u003cp>Me and Boobie talked a couple months ago. We’re going to let bygones be bygones, and at least be cordial moving forward. So we good.\u003c/p>\n\u003cp>And the graffiti in the back. We had all our names spraypainted at the basketball court, and little phrases and sayings we used. We had R.I.P. Chucky, our boy who had passed away. Behind me on the cover you can see an R.I.P. for Tone — that’s our boy Tone that got killed by the Vallejo PD.\u003c/p>\n\u003cfigure id=\"attachment_13923778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923778\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BlackC.Herm_-800x690.png\" alt=\"Two young men sit on graffiti-covered steps, looking into the camera\" width=\"800\" height=\"690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-800x690.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-1020x880.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-768x662.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black C on the basketball court steps with Herm Lewis (L–R), whose spoken-word intro on ‘A Lesson to Be Learned’ begins: “To survive the difficulties of these ghetto circumstances, we must motivate and respect each other, because the system is causing considerable damage to the Black man.” \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m 50 now. And that’s why \u003ca href=\"https://rblposse.bigcartel.com/product/black-c-a-part-of-survival-from-the-block-to-the-booth-book\" target=\"_blank\" rel=\"noopener\">I put it all in my book\u003c/a>. I talk about everything, from the block to the booth. From being outside, losing my eye, and being part of the Sunnydale-Fillmore turf wars, to me being part of the truce, and bringing Sunnydale and Fillmore together. And then the fallout of my neighborhood, how it all happened. The fallout with our our label, In-a-Minute Records, who we signed to at the time.\u003c/p>\n\u003cp>[aside postid='arts_13924126']And even now, today, the fans still come out to see us. Even though they know we lost two members. We lost Mr. Cee, and we lost Hitman later on.\u003c/p>\n\u003cp>I pressed forward and kept doing music, and thank God I didn’t have any problems. I’m still here to tell the story, you know?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note: \u003c/i>\u003c/b>\u003ci>This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003cem>RBL Posse’s debut album \u003c/em>A Lesson to Be Learned\u003cem> is a Bay Area classic that sold over 220,000 copies and put Hunters Point on the map. Here, RBL Posse’s \u003ca href=\"https://www.instagram.com/blackc/?hl=en\">Black C\u003c/a>, a.k.a. Christian Mathews, recalls the neighborhood circumstances surrounding the album’s iconic cover photo.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Location\u003c/strong>: Harbor and Northridge Roads, Hunters Point, San Francisco\u003cbr>\n\u003cstrong>As told to\u003c/strong>: Gabe Meline \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he day we shot the cover for \u003cem>Lesson to be Learned\u003c/em>, we were just trying to represent our neighborhood.\u003c/p>\n\u003cp>Back then, an album cover was more about the eye candy — you pick it up and you see a bunch of guys on it, spray paint on the wall, stuff like that, and it makes you curious. I was really influenced by N.W.A. and the Geto Boys, so even though it was only me and Mr. Cee rapping in RBL, I gathered up a couple of my friends from the neighborhood to be in the picture. This is back when you had, like, \u003ca href=\"https://i.discogs.com/o1OhlCJWFiJN08RD3rFLuohEgsk6weI76QpEQ1CT39o/rs:fit/g:sm/q:90/h:600/w:597/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTEyMzM3/NTgtMTIwMjU2MTgz/NC5qcGVn.jpeg\">posse photos\u003c/a>. It attracted attention. People was like, “Oh, that’s a \u003cem>crew\u003c/em> — where they from?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I told them dudes to go put on they RBL jackets, ’cause we all had RBL jackets made at Serramonte shopping mall. And we just had one of those little wind-up Kodak cameras, the kind you buy from Walgreens. My little brother Acie Matthews took the picture. He wasn’t a professional. He was just the only one out there with us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13923773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Lesson.cover_.jpg\" alt=\"\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Lesson.cover_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Lesson.cover_-160x160.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>We tried a few different things that day. We had a song called “More Like an Orgy,” where I talk about rollin’ four deep in a mail Jeep, so we actually did a photo with the mail Jeep. We did a photo on top of the building by the Harbor Road sign. I wish I still had those photos.\u003c/p>\n\u003cp>And then we took a couple photos there in the basketball court, because not only did it have a lot of our names on the walls with spraypaint, but it was an area where we all gathered. We were doing barbecues there, shooting dice, hanging out, playing hunches. It was just a staple in our neighborhood. \u003c/p>\u003c/div>",
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"content": "‘I look at that picture and get happy, and then at times I’m sad about the whole thing. I have dudes behind me in the picture who really didn’t have my back. It’s bittersweet.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The picture we actually used, sitting up on the stairs at the basketball court, that one just stood out to me. It had that grimy look and represented us, you know, it just represented our neighborhood. Anybody that’s seen that picture, especially from Hunters Point, knew exactly where that was that. They knew that was our road.\u003c/p>\n\u003cfigure id=\"attachment_13923776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-800x526.jpg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBL Posse perform at the basketball court on Harbor Road, where the cover photo for ‘A Lesson to Be Learned’ was taken. \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did so many things at the basketball court. I got shot and lost my eye close by there. We learned how to fight there. Learned how to play basketball. Our first concert we ever did in the neighborhood was done there. Back when we was hustling, that’s where everybody was at, from the OGs down to the youngsters.\u003c/p>\n\u003cp>At the time, I was living at 27 Harbor Road, the next building over. Before I even got outside and started hustling, I used to run to the candy house across the street, down them stairs across from the basketball court. I was doing store runs down to Surfside Liquors — that’s Bob’s store — or going to the candy house for the OGs that was around there hustlin’.\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/nhRJnuCrAoM'\n title='//www.youtube.com/embed/nhRJnuCrAoM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Looking at that photo now, it’s happy and it’s sad. I think about the day we took it, how we was all together, and havin’ fun. We was just happy about RBL. We had no idea it was going to take off like it did. The song “Don’t Give Me No Bammer Weed” — I knew that was hot because of what it did locally for us. I knew we had a hit on our hands. Everybody was excited, everybody had RBL jackets, and the whole neighborhood then, it was unity.\u003c/p>\n\u003cp>But then also when I look at that photo, that same album caused a divide. It brought jealousy to the dudes within the camp. The guy that’s standin’ up behind Mr. Cee — Boobie, me and him fell apart, and it split the turf in half, and that kind of caused the demise of Mr. Cee, him getting killed. I look at that picture and get happy, and then at times I’m sad about the whole thing. I have dudes behind me in the picture who really didn’t have my back. It’s bittersweet.\u003c/p>\n\u003cfigure id=\"attachment_13924411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-800x535.jpg\" alt=\"A man in black leans out the drivers-side window of a vintage teal-blue car with buildings in the background\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1920x1284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBL Posse’s Black C in his 1966 Skylark on Harbor Road in Hunters Point, circa 1990s. \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing on the right-hand side, that’s Lil’ Mo, I still deal with him. Rest in peace to his sister, my kid’s mom — Lil’ Mo’s her brother. And that’s me in front of him with a beanie hat on.\u003c/p>\n\u003cp>And then in the middle you have Curtis. He’s dead now. He was one of the guys that I didn’t get along with later on. He switched up on them after we left and became a snitch, worked for the state or something. But he ended up getting killed some years back in Oakland.\u003c/p>\n\u003cp>And then you have Mr. Cee to the left of him, at the bottom. Rest in peace, Mr. Cee, that was my partner.\u003c/p>\n\u003cp>The one at the top above Mr. Cee, that’s Boobie. He just got out from doing 19 years. The whole thing with Boobie and them, when the turf split up, they became Big Block and they kind of went against us, and the whole stuff happened. The feds came in, took them to jail, and Curtis told on Boobie and a few other people.\u003c/p>\n\u003cp>Me and Boobie talked a couple months ago. We’re going to let bygones be bygones, and at least be cordial moving forward. So we good.\u003c/p>\n\u003cp>And the graffiti in the back. We had all our names spraypainted at the basketball court, and little phrases and sayings we used. We had R.I.P. Chucky, our boy who had passed away. Behind me on the cover you can see an R.I.P. for Tone — that’s our boy Tone that got killed by the Vallejo PD.\u003c/p>\n\u003cfigure id=\"attachment_13923778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923778\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BlackC.Herm_-800x690.png\" alt=\"Two young men sit on graffiti-covered steps, looking into the camera\" width=\"800\" height=\"690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-800x690.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-1020x880.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-768x662.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black C on the basketball court steps with Herm Lewis (L–R), whose spoken-word intro on ‘A Lesson to Be Learned’ begins: “To survive the difficulties of these ghetto circumstances, we must motivate and respect each other, because the system is causing considerable damage to the Black man.” \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m 50 now. And that’s why \u003ca href=\"https://rblposse.bigcartel.com/product/black-c-a-part-of-survival-from-the-block-to-the-booth-book\" target=\"_blank\" rel=\"noopener\">I put it all in my book\u003c/a>. I talk about everything, from the block to the booth. From being outside, losing my eye, and being part of the Sunnydale-Fillmore turf wars, to me being part of the truce, and bringing Sunnydale and Fillmore together. And then the fallout of my neighborhood, how it all happened. The fallout with our our label, In-a-Minute Records, who we signed to at the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And even now, today, the fans still come out to see us. Even though they know we lost two members. We lost Mr. Cee, and we lost Hitman later on.\u003c/p>\n\u003cp>I pressed forward and kept doing music, and thank God I didn’t have any problems. I’m still here to tell the story, you know?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why We’re Spending a Year Covering Bay Area Hip-Hop History",
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"content": "\u003cfigure id=\"attachment_13923952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/e-40.web_-800x604.jpg\" alt=\"An illustration of the rapper e-40, holding his glasses, based on the cover to the album 'my ghetto report card'\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/e-40.web_-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/e-40.web_-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/e-40.web_-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/e-40.web_-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/e-40.web_-1536x1160.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/e-40.web_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘That’s My Word’ drops new stories each week throughout 2023. \u003ccite>(Illustration by Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is nothing in the world like Bay Area hip-hop.\u003c/p>\n\u003cp>Our hip-hop is multicultural, flamboyant, political, diverse, high-energy. It’s staunchly independent and doesn’t ask for approval. It’s the product of pimps and hustlers just as much as activists and intellectuals. In the Bay — \u003cem>rewind that Mac Dre song\u003c/em> — we dance a little different. [aside postID='arts_13924126']\u003c/p>\n\u003cp>It’s no secret that hip-hop in the Bay has been overlooked. But something else has happened. The rest of the country, befuddled but fascinated, has hijacked our production, slang and dance styles as their own. Our DJs have inspired the world; our graffiti artists too. Spend a little time in hip-hop, and you’ll quickly notice just how much the Bay has influenced without recognition.\u003c/p>\n\u003cp>As the year 2023 marks what’s widely accepted as the 50th anniversary of the birth of hip-hop, it’s time to give the Bay its shine. That’s why we’re spending the whole year telling the story of this culture, piece by piece.\u003c/p>\n\u003cfigure id=\"attachment_13924235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2-800x295.jpg\" alt=\"\" width=\"800\" height=\"295\" class=\"size-medium wp-image-13924235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2-800x295.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2-1020x376.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2-160x59.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2-768x283.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2-1536x566.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sly Stone, E_40, Mistah F.A.B. and Kamaiyah. \u003ccite>(Illustration by Noah Haytin/NOH8TIN )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’ll give you inside stories of hit records and deep cuts. We’ll break down how our innovative social, political and cultural movements contributed to hip-hop’s DNA. We’ll also go well beyond the music, and show how artists like Boots Riley and Tupac Shakur forced direct action for police accountability; how trailblazing women like Pam the Funkstress and the Conscious Daughters pushed hip-hop forward; and how Too Short, E-40, JT the Bigga Figga, Hieroglyphics and other entrepreneurs created the blueprint for independent artists.\u003c/p>\n\u003cp>Through regular feature stories, interviews, playlists, photo galleries, podcast episodes and live events throughout 2023, we’re here to backcue the record and make sure the Bay gets its due. [aside postid='arts_13923978']\u003c/p>\n\u003cp>We’ve also embarked on an ambitious endeavor, one that’s collaborative by design: a searchable, filterable \u003ca href=\"http://kqed.org/bayareahiphop/timeline\">timeline of important moments in Bay Area hip-hop history\u003c/a>. It’s already over 200 entries long, and we’ll be adding to it as the year goes on for future generations to explore.\u003c/p>\n\u003cp>No single person can tell the entire story of Bay Area hip-hop. It’s too huge, too variegated. That’s why we’re working with contributors — journalists, visual artists, rappers, academics, turntablists — to capture as much of this history before it dissipates. We’re also working with an advisory panel consisting of \u003ca href=\"https://jeffchang.net/\" target=\"_blank\" rel=\"noopener\">Jeff Chang\u003c/a>, \u003ca href=\"https://www.daveyd.com/\" target=\"_blank\" rel=\"noopener\">Davey D Cook\u003c/a> and \u003ca href=\"https://anthropology.sfsu.edu/people/dawn-elissa-fischer\" target=\"_blank\" rel=\"noopener\">Dawn-Elissa Fischer\u003c/a>, all three of whom live and breathe hip-hop history. [aside postid='arts_13924042']\u003c/p>\n\u003cp>But importantly, we want to hear from you. Tap in and talk to us \u003ca href=\"http://www.kqed.org/bayareahiphop/about\">here\u003c/a>. Fact-check us when needed. Tell us what you’ve seen and where you’ve been. The permanent record needs you.\u003c/p>\n\u003cp>If you’re alive in 2023, you’ve been affected by hip-hop. For decades, it’s transformed not just music but art, politics, education and culture. So this series isn’t just for the old heads — it’s for young fans wanting to connect to the lineage; for those eager to learn about the Bay Area’s social, political and cultural history; for any of the millions across the globe whose life soundtrack spans the music of Mac Dre, The Jacka, Blackalicious, Keak Da Sneak, Kamaiyah, Digital Underground, DJ Shadow, MC Hammer, The Coup, Mystic, I.M.P., Saafir, Mistah F.A.B., the Invisibl Skratch Piklz and… you know what? If we listed everyone, we’d be here ’til infinity. [aside postid='arts_13924170']\u003c/p>\n\u003cp>Hip-hop history is so much more than New York, L.A. and Atlanta. For the foreseeable future here in the Bay, it’s all eyez on us.\u003c/p>\n\u003cp>\u003cem>— Gabe Meline, Eric Arnold, Nastia Voynovskaya and Pendarvis Harshaw \u003c/em>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13923952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/e-40.web_-800x604.jpg\" alt=\"An illustration of the rapper e-40, holding his glasses, based on the cover to the album 'my ghetto report card'\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/e-40.web_-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/e-40.web_-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/e-40.web_-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/e-40.web_-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/e-40.web_-1536x1160.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/e-40.web_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘That’s My Word’ drops new stories each week throughout 2023. \u003ccite>(Illustration by Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is nothing in the world like Bay Area hip-hop.\u003c/p>\n\u003cp>Our hip-hop is multicultural, flamboyant, political, diverse, high-energy. It’s staunchly independent and doesn’t ask for approval. It’s the product of pimps and hustlers just as much as activists and intellectuals. In the Bay — \u003cem>rewind that Mac Dre song\u003c/em> — we dance a little different. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s no secret that hip-hop in the Bay has been overlooked. But something else has happened. The rest of the country, befuddled but fascinated, has hijacked our production, slang and dance styles as their own. Our DJs have inspired the world; our graffiti artists too. Spend a little time in hip-hop, and you’ll quickly notice just how much the Bay has influenced without recognition.\u003c/p>\n\u003cp>As the year 2023 marks what’s widely accepted as the 50th anniversary of the birth of hip-hop, it’s time to give the Bay its shine. That’s why we’re spending the whole year telling the story of this culture, piece by piece.\u003c/p>\n\u003cfigure id=\"attachment_13924235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2-800x295.jpg\" alt=\"\" width=\"800\" height=\"295\" class=\"size-medium wp-image-13924235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2-800x295.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2-1020x376.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2-160x59.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2-768x283.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2-1536x566.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NoahHaytin.FourPortraits.2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sly Stone, E_40, Mistah F.A.B. and Kamaiyah. \u003ccite>(Illustration by Noah Haytin/NOH8TIN )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’ll give you inside stories of hit records and deep cuts. We’ll break down how our innovative social, political and cultural movements contributed to hip-hop’s DNA. We’ll also go well beyond the music, and show how artists like Boots Riley and Tupac Shakur forced direct action for police accountability; how trailblazing women like Pam the Funkstress and the Conscious Daughters pushed hip-hop forward; and how Too Short, E-40, JT the Bigga Figga, Hieroglyphics and other entrepreneurs created the blueprint for independent artists.\u003c/p>\n\u003cp>Through regular feature stories, interviews, playlists, photo galleries, podcast episodes and live events throughout 2023, we’re here to backcue the record and make sure the Bay gets its due. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’ve also embarked on an ambitious endeavor, one that’s collaborative by design: a searchable, filterable \u003ca href=\"http://kqed.org/bayareahiphop/timeline\">timeline of important moments in Bay Area hip-hop history\u003c/a>. It’s already over 200 entries long, and we’ll be adding to it as the year goes on for future generations to explore.\u003c/p>\n\u003cp>No single person can tell the entire story of Bay Area hip-hop. It’s too huge, too variegated. That’s why we’re working with contributors — journalists, visual artists, rappers, academics, turntablists — to capture as much of this history before it dissipates. We’re also working with an advisory panel consisting of \u003ca href=\"https://jeffchang.net/\" target=\"_blank\" rel=\"noopener\">Jeff Chang\u003c/a>, \u003ca href=\"https://www.daveyd.com/\" target=\"_blank\" rel=\"noopener\">Davey D Cook\u003c/a> and \u003ca href=\"https://anthropology.sfsu.edu/people/dawn-elissa-fischer\" target=\"_blank\" rel=\"noopener\">Dawn-Elissa Fischer\u003c/a>, all three of whom live and breathe hip-hop history. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But importantly, we want to hear from you. Tap in and talk to us \u003ca href=\"http://www.kqed.org/bayareahiphop/about\">here\u003c/a>. Fact-check us when needed. Tell us what you’ve seen and where you’ve been. The permanent record needs you.\u003c/p>\n\u003cp>If you’re alive in 2023, you’ve been affected by hip-hop. For decades, it’s transformed not just music but art, politics, education and culture. So this series isn’t just for the old heads — it’s for young fans wanting to connect to the lineage; for those eager to learn about the Bay Area’s social, political and cultural history; for any of the millions across the globe whose life soundtrack spans the music of Mac Dre, The Jacka, Blackalicious, Keak Da Sneak, Kamaiyah, Digital Underground, DJ Shadow, MC Hammer, The Coup, Mystic, I.M.P., Saafir, Mistah F.A.B., the Invisibl Skratch Piklz and… you know what? If we listed everyone, we’d be here ’til infinity. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hip-hop history is so much more than New York, L.A. and Atlanta. For the foreseeable future here in the Bay, it’s all eyez on us.\u003c/p>\n\u003cp>\u003cem>— Gabe Meline, Eric Arnold, Nastia Voynovskaya and Pendarvis Harshaw \u003c/em>\u003cbr>\n\u003c/p>\u003c/div>",
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"title": "A Trip With Davey D Back to 1984, When Hip-Hop Was Still Undefined",
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"content": "\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dave “Davey D” Cook\u003c/a> is a cornerstone of hip-hop culture.\u003c/p>\n\u003cp>He currently co-hosts KPFA’s \u003ci>Hard Knock Radio\u003c/i> and serves as a professor of Africana studies at San Francisco State University, where he teaches popular courses on hip-hop and African American music. Working with historian Jeff Chang, Davey recently co-published the book \u003ci>Can’t Stop Won’t Stop: A History of the Hip-Hop Generation\u003c/i> (2021). (Both Davey and Jeff are advisors for KQED’s \u003ci>That’s My Word\u003c/i>.)\u003c/p>\n\u003cp>Davey D is a practitioner of the culture as well as a critic. Over the span of five decades, he’s been an MC, DJ, journalist, activist — the list goes on. He was at the heart of the \u003ca href=\"http://www.daveyd.com/articleradiosucks.html\" target=\"_blank\" rel=\"noopener noreferrer\">fight against a corporate media takeover\u003c/a> of a San Francisco hip-hop radio station. He \u003ca href=\"https://hiphopandpolitics.wordpress.com/tag/oscar-grant/\" target=\"_blank\" rel=\"noopener noreferrer\">amplified the call for justice\u003c/a> in Oakland after Oscar Grant was killed by BART police officer Johannes Mehserle. And during a financial literacy conference in New York, Davey D conducted one of the first major interviews with the \u003ca href=\"https://youtu.be/GwG4A_OrTmk\" target=\"_blank\" rel=\"noopener noreferrer\">late, legendary Los Angeles lyricist Nipsey Hussle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-800x627.png\" alt=\"\" width=\"800\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1536x1205.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-2048x1606.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1920x1506.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave ‘Davey D’ Cook on stage with Dominique DiPrima at the Macy’s passport event in Oakland circa 1993. \u003ccite>(Courtesy of Davey D)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally from The Bronx, New York, Davey D was there when this thing we call hip-hop was in its nascent form, before it even had a name. When he arrived in the Bay Area in the early ’80s, one of his missions as a UC Berkeley student was to lend some insight to this burgeoning culture. So he put on a few events, one of which was The Day in Hip-Hop on Oct. 24, 1984.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Footage of The Day in Hip-hop shows dancers, rappers and DJs performing in front of a captive audience, as they get a crash course on what would eventually become the most popular music in the world. The films are housed in UC Berkeley’s archives. Fortunately, a few clips have been uploaded to YouTube by Jim Richards. With the 50th anniversary of hip-hop at the front of mind, I spoke to Davey D about what the culture was like back then and how far it has come.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6878706120&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts from my conversation with Davey D.\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/L_71XuDWzeE\u003c/p>\n\u003cp>\u003cb>PENDARVIS HARSHAW:\u003c/b> The objective of this interview is to talk about a video specifically from \u003ca href=\"https://www.youtube.com/watch?v=fOH_YgzQS7M\" target=\"_blank\" rel=\"noopener noreferrer\">1984 at UC Berkeley on Sproul Plaza\u003c/a> with you DJing. I saw the fresh cut, and you had your name on your shirt. It’s an early iteration of what hip-hop looks like in the Bay Area. It’s just a moving piece of footage. Can we talk through it while we watch it real quick?\u003c/p>\n\u003cp>\u003cb>DAVEY D:\u003c/b> So you got [the MCs] Commander C and Diamond D from Berkeley and Richmond. They were The Dazzling Two. And that graffiti that you see, that’s me.\u003c/p>\n\u003cp>\u003cb>You did the graffiti too?\u003c/b>\u003c/p>\n\u003cp>Yeah, I did the writing. I was never a graff artist, but I did do that. We were trying to do a showcase, and bring to the campus and celebrate this thing that was burgeoning. So what you see in the video is me, with a cut-off sweatshirt that has my name on it. You also see a guy named Patrick Norwood who is out of L.A. and was a good DJ. We had a crew called the New York/L.A. Connection because they were from L.A., and I was from New York. And we bought out some dancers. We brought out these artists. And it had to be several hundred people there watching as we did this thing. And it was just a day to remember, it was exciting. [pullquote align='right' size='medium' citation='Davey D']‘Hip-hop will [always] be a continuation of Black expression, it ain’t going nowhere.’[/pullquote]\u003c/p>\n\u003cp>When you look at it now, it’s kind of basic what we were doing. My scratches weren’t all that and the raps weren’t all that. But you know what? They were entertaining and could hold their own. I passed out a leaflet that explained what hip-hop was. They were on pink pieces of paper. And I think UC Berkeley filmed this as well, and they have it in their archives. We did another one several months later, and that one you actually have me rapping with a number of people. And we did an anti-apartheid song called “South Africa It’s Just a Matter of Time.”\u003c/p>\n\u003cp>Back in the day, I started out as an MC. I became a DJ when I moved out here. People just weren’t MCing like that when I first came out here. So I had more of an opportunity to do what I liked by DJing, versus getting on the mic and doing what the Dazzling Two were doing. I wonder whatever happened to them.\u003c/p>\n\u003cp>https://youtu.be/fOH_YgzQS7M\u003c/p>\n\u003cp>\u003cb>I’m watching the video, and the audience is kind of stunned. Sitting there, jaw dropped.\u003c/b>\u003c/p>\n\u003cp>They were watching because they hadn’t seen it. This was before the Fresh Fest [in December 1984, the first national hip-hop tour with Run D.M.C., Whodini and more]. So you didn’t really have performances like this. This was a treat for a lot of people. They might have seen something on a TV show, [or] \u003ci>Beat Street\u003c/i> the movie or something, but they hadn’t seen this up close and live. That’s why we wound up doing a second one. People were like, “Man, you all got to do that again.”\u003c/p>\n\u003cp>\u003cb>If we’re saying that the start of hip-hop was ’73, then 10 years later you have people rapping in French. And you have this spread to the West Coast.\u003c/b>\u003c/p>\n\u003cp>Well, that’s one way to look at it. Or the other way is to understand that Indigenous folks, and in this case when I say “Indigenous” I’m saying people that come from Black communities — you know, “the hood,” so to speak — we always had these expressions. And so hip-hop had two types of responses. If you talk to Commander C and Diamond from the Dazzling Two, and you tell them about rap, them being from [the East Bay], their response wouldn’t have been, “Oh wow, this is great. How do you do it?” Their response would have been more like, “Oh man, that sounds like something my uncle used to do.” Because there would be a reference point. “Oh man, it sounds like some hambone. That sounds like some pimp talk,” right? They’ve already seen people rhyming. They saw a \u003ci>Dolemite\u003c/i> movie. They had an uncle that would talk slick like that.\u003c/p>\n\u003cp>How [hip-hop] was packaged may have been new. Like, “Oh, I never thought to do it over beats like that.” But the concept wasn’t new. Then you have other people who’ve never seen anything like this. And their reference point then becomes, “What did I see on TV?” And if you’re telling me this is a New York thing, then I want to soak up everything that came out of New York. Whereas, I think a Richmond and Oakland cat was like, “This is good. I’m going to integrate this New York style with things that I’ve already done.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/5Qh4JQ3yYUFhaC8t49NZnx?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>So if you listen to those guys, to their credit, they didn’t try to sound like they were from New York. They still sound like some cat from Richmond in ’83, ’84. And I think that’s a testament to the Bay. [It] has its own identity… They didn’t feel like [they] needed to follow a prescribed path.\u003c/p>\n\u003cp>You have to understand that there’s no YouTube at the time. Most people never saw a video like this until years later. This wasn’t on Channel Two or ABC or anything like that. This was something that [you] had to be there [for]. So for a lot of folks, they hadn’t seen this whole package until that day… And that’s what made it special. And I think if you were there, what I recall was the energy. There was a vibe. And it was almost euphoric, especially once the dancers got on.\u003c/p>\n\u003cp>https://youtu.be/JrbBU_Mfi1s\u003c/p>\n\u003cp>\u003cb>The dancers turned it out. There’s a scene where the dancers line up. You think it’s about to start, and then they drop their pants and they have pants under their pants. And you see their uniforms, and it’s like, ‘Oh, it’s about to go down.’\u003c/b>\u003c/p>\n\u003cp>But you also got to remember, in the Bay dance expression has been around for a long time too. They’re doing breaking, right? But there was a Bay style of dance that is — big shout out to The Black Resurgents and The Messengers, and all those groups. The Black Resurgents just celebrated their 50th anniversary. They were doing the boogaloo, and they were strutting, and they were roboting. [aside postid='arts_13891300']\u003c/p>\n\u003cp>So these guys [on campus] were breaking, they weren’t doing Bay traditional dances, and we can get into why that was the case: Because [some of] those guys who came out of that dance era that actually predates hip-hop in New York had aged out. They were older, doing other things. And the fascination of hip-hop out of New York was really through the visuals of dance.\u003c/p>\n\u003cp>\u003cb>I should acknowledge the fact that the elements that are hip-hop were present even before 1973 in the Bay Area, right?\u003c/b>\u003c/p>\n\u003cp>We’ve always danced. Percussion has always been our thing, right? Black people are the people of the drum. Native folks are people of the drum, so the drum is not foreign. And rhyming has been around for a very long time. Having all those elements put together in a package like that had not happened. So again, It’s not “either or,” it’s “both and.”\u003c/p>\n\u003cp>https://youtu.be/ALLGyes9MhA\u003c/p>\n\u003cp>\u003cb>One of the big things that jumped out at me about the video is that it’s at Sproul Plaza, and this is the home of the Free Speech Movement and anti-Vietnam War protests. Having this event at that same hallowed ground, does that bring some type of legitimacy? Legitimacy is a loaded word, but does it bring some weight to it?\u003c/b>\u003c/p>\n\u003cp>I don’t think people were thinking of it at that time. I certainly wasn’t. The reason we did it at Sproul Plaza was because that’s where all the Black folks hung out, the fraternities: the Alphas, who were probably the biggest one. And the Kappas, when they did their step shows, they did it on Sproul Plaza, right? Sproul Plaza is right there at the entry of the campus, so if you want to get maximum people, you’re going to do it on Sproul Plaza. The second one we did down in Zellerbach, but it wasn’t like, “Aw man, the Free Speech Movement happened here, let’s do it on Sproul Plaza.”\u003c/p>\n\u003cfigure id=\"attachment_13923986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-800x987.png\" alt='Davey D explains this new thing called \"hip-hop\" in this one-sheeter from 1984.' width=\"800\" height=\"987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-800x987.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-1020x1258.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-160x197.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-768x947.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM.png 1218w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davey D explains this new thing called “hip-hop” in this one-sheeter from 1984. \u003ccite>(Via Dave \"Davey D\" Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>And you said you passed out a flyer there.\u003c/b>\u003c/p>\n\u003cp>Not a flyer, but a piece of — it was an article that I wrote explaining what hip-hop was.\u003c/p>\n\u003cp>\u003cb>A one-sheeter, right?\u003c/b>\u003c/p>\n\u003cp>A one-sheeter, yeah.\u003c/p>\n\u003cp>\u003cb>Why would you need to pass on a one-sheeter explaining hip-hop?\u003c/b>\u003c/p>\n\u003cp>Because people didn’t know at that time, and you wanted to make sure they had it. What are you watching? Why are you watching this? So, again, for many people that was the first time they saw something live like that. We take it for granted now, but in 1984, you didn’t see that like that. There wasn’t no [hip-hop] block parties here. So this was the first time for a lot of people. And we wanted to make sure that they had an understanding.\u003c/p>\n\u003cp>My mom was mad because she said, “You didn’t put your name on it.” She’s like, “Put your name on it so people know that you wrote this, I don’t want nobody taking your stuff.” And I was like, “Nah, ma, they seen me pass it out.” But it became important because a lot of people did use that article. It showed up in the \u003ci>San Francisco Chronicle\u003c/i>. There were people that quoted from it and didn’t know where it came from. I seen it on websites years later, right? But, you know, it’s actually \u003ca href=\"https://www.daveyd.com/whatishipdav.html\" target=\"_blank\" rel=\"noopener noreferrer\">on my site now\u003c/a>. I was asked to write it for a magazine, so I rewrote that and added to it.\u003c/p>\n\u003cp>\u003cb>In the early days, how did hip-hop culture spread to the Bay Area?\u003c/b>\u003c/p>\n\u003cp>It spread the same way that it does everywhere else where Black folks are. First, we have to ask the question: What parts of hip-hop? So you have to get a graff writer in here to break down how they were passing along secrets and understandings and cultural aesthetics. You know, somebody like \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>.\u003c/p>\n\u003cp>I think us as DJs, there’s a whole path that we took, right? … So I’ll give you an example: There was a guy named Quickie Kev who was on the campus, and I was the main DJ, but Quickie Kev came out of L.A. and he knew how to scratch. His scratch was picked up from [the radio station] KDAY. And at that time, they had a bunch of DJs on there. Tony G. Joe Cooley, right? So there was an “L.A. Fast Scratch,” that’s what we called it. And he picked that up, and he was vicious on it. So whenever he did a party, people were sitting around like, “Man, how do we do that?” So that became one way some of that trickery was passed along. Much of it was seeing somebody who had a skillset, and they would pick it up.\u003c/p>\n\u003cp>https://youtu.be/7bYXW4x7RXk\u003c/p>\n\u003cp>\u003cb>Was there a point in the late ’80s, early ’90s where you could pinpoint and say hip-hop had irreversibly established itself?\u003c/b>\u003c/p>\n\u003cp>When \u003ci>Beat Street\u003c/i> came out, I think there was no turning back. Shout out to Harry Belafonte and all those people who put it together. I know we had \u003ci>Krush Groove\u003c/i>, and \u003ci>Wild Style\u003c/i> had come out prior to that. But I think \u003ci>Beat Street\u003c/i> because it was such a mainstream thing, it was the one that was for people who grew up with that in New York — this was a validation. I think there was no turning back at that point.\u003c/p>\n\u003cp>I remember, I was at a place called the Promenade, which is next to Marble Hill Projects in the Bronx. And my crew was doing a party. And I remember sitting there like, “Wow, look at all these people here.” And I said, “I wonder if people around the world know what we’re doing.” This is incredible. It just hit me. And within two years time, “\u003ca href=\"https://www.npr.org/2000/12/29/1116242/rappers-delight\" target=\"_blank\" rel=\"noopener noreferrer\">Rapper’s Delight\u003c/a>” came out and that was irreversible there.\u003c/p>\n\u003cp>\u003cb>So, one more question on my end: 50 years from now, hip-hop is…?\u003c/b>\u003c/p>\n\u003cp>Hip-hop will be a continuation of Black expression, it ain’t going nowhere. We’re gonna stop singing and vocalizing ourselves? No. We gonna stop dancing? No. Are we going to have different rhythms? Absolutely. You can have a crunk beat, boom-bap beat, hyphy beat, underground lo-fi beat, jazzy beat, right? You can have those 808 beats, Miami bass beat. There’s like 50 different beats that you can find within hip-hop. There will be new beats 50 years from now. It might not be called hip-hop, but it’s still going to be here.\u003c/p>\n\u003cp>It will never leave because hip-hop at its core is the expression of people who want to build community with one another. Who want to lose themselves in other ways, to express themselves and not be limited to what society says is valid expression.\u003c/p>\n\u003cp>The key for us is, can we connect the past with the present? And can we connect the past and present to the future? That’s our job. So we’re here to open your mind, and as Black Moon would say, “get you open.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dave “Davey D” Cook\u003c/a> is a cornerstone of hip-hop culture.\u003c/p>\n\u003cp>He currently co-hosts KPFA’s \u003ci>Hard Knock Radio\u003c/i> and serves as a professor of Africana studies at San Francisco State University, where he teaches popular courses on hip-hop and African American music. Working with historian Jeff Chang, Davey recently co-published the book \u003ci>Can’t Stop Won’t Stop: A History of the Hip-Hop Generation\u003c/i> (2021). (Both Davey and Jeff are advisors for KQED’s \u003ci>That’s My Word\u003c/i>.)\u003c/p>\n\u003cp>Davey D is a practitioner of the culture as well as a critic. Over the span of five decades, he’s been an MC, DJ, journalist, activist — the list goes on. He was at the heart of the \u003ca href=\"http://www.daveyd.com/articleradiosucks.html\" target=\"_blank\" rel=\"noopener noreferrer\">fight against a corporate media takeover\u003c/a> of a San Francisco hip-hop radio station. He \u003ca href=\"https://hiphopandpolitics.wordpress.com/tag/oscar-grant/\" target=\"_blank\" rel=\"noopener noreferrer\">amplified the call for justice\u003c/a> in Oakland after Oscar Grant was killed by BART police officer Johannes Mehserle. And during a financial literacy conference in New York, Davey D conducted one of the first major interviews with the \u003ca href=\"https://youtu.be/GwG4A_OrTmk\" target=\"_blank\" rel=\"noopener noreferrer\">late, legendary Los Angeles lyricist Nipsey Hussle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-800x627.png\" alt=\"\" width=\"800\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1536x1205.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-2048x1606.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1920x1506.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave ‘Davey D’ Cook on stage with Dominique DiPrima at the Macy’s passport event in Oakland circa 1993. \u003ccite>(Courtesy of Davey D)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally from The Bronx, New York, Davey D was there when this thing we call hip-hop was in its nascent form, before it even had a name. When he arrived in the Bay Area in the early ’80s, one of his missions as a UC Berkeley student was to lend some insight to this burgeoning culture. So he put on a few events, one of which was The Day in Hip-Hop on Oct. 24, 1984.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Footage of The Day in Hip-hop shows dancers, rappers and DJs performing in front of a captive audience, as they get a crash course on what would eventually become the most popular music in the world. The films are housed in UC Berkeley’s archives. Fortunately, a few clips have been uploaded to YouTube by Jim Richards. With the 50th anniversary of hip-hop at the front of mind, I spoke to Davey D about what the culture was like back then and how far it has come.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6878706120&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts from my conversation with Davey D.\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/L_71XuDWzeE'\n title='//www.youtube.com/embed/L_71XuDWzeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>PENDARVIS HARSHAW:\u003c/b> The objective of this interview is to talk about a video specifically from \u003ca href=\"https://www.youtube.com/watch?v=fOH_YgzQS7M\" target=\"_blank\" rel=\"noopener noreferrer\">1984 at UC Berkeley on Sproul Plaza\u003c/a> with you DJing. I saw the fresh cut, and you had your name on your shirt. It’s an early iteration of what hip-hop looks like in the Bay Area. It’s just a moving piece of footage. Can we talk through it while we watch it real quick?\u003c/p>\n\u003cp>\u003cb>DAVEY D:\u003c/b> So you got [the MCs] Commander C and Diamond D from Berkeley and Richmond. They were The Dazzling Two. And that graffiti that you see, that’s me.\u003c/p>\n\u003cp>\u003cb>You did the graffiti too?\u003c/b>\u003c/p>\n\u003cp>Yeah, I did the writing. I was never a graff artist, but I did do that. We were trying to do a showcase, and bring to the campus and celebrate this thing that was burgeoning. So what you see in the video is me, with a cut-off sweatshirt that has my name on it. You also see a guy named Patrick Norwood who is out of L.A. and was a good DJ. We had a crew called the New York/L.A. Connection because they were from L.A., and I was from New York. And we bought out some dancers. We brought out these artists. And it had to be several hundred people there watching as we did this thing. And it was just a day to remember, it was exciting. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When you look at it now, it’s kind of basic what we were doing. My scratches weren’t all that and the raps weren’t all that. But you know what? They were entertaining and could hold their own. I passed out a leaflet that explained what hip-hop was. They were on pink pieces of paper. And I think UC Berkeley filmed this as well, and they have it in their archives. We did another one several months later, and that one you actually have me rapping with a number of people. And we did an anti-apartheid song called “South Africa It’s Just a Matter of Time.”\u003c/p>\n\u003cp>Back in the day, I started out as an MC. I became a DJ when I moved out here. People just weren’t MCing like that when I first came out here. So I had more of an opportunity to do what I liked by DJing, versus getting on the mic and doing what the Dazzling Two were doing. I wonder whatever happened to them.\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/fOH_YgzQS7M'\n title='//www.youtube.com/embed/fOH_YgzQS7M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>I’m watching the video, and the audience is kind of stunned. Sitting there, jaw dropped.\u003c/b>\u003c/p>\n\u003cp>They were watching because they hadn’t seen it. This was before the Fresh Fest [in December 1984, the first national hip-hop tour with Run D.M.C., Whodini and more]. So you didn’t really have performances like this. This was a treat for a lot of people. They might have seen something on a TV show, [or] \u003ci>Beat Street\u003c/i> the movie or something, but they hadn’t seen this up close and live. That’s why we wound up doing a second one. People were like, “Man, you all got to do that again.”\u003c/p>\n\u003cp>\u003cb>If we’re saying that the start of hip-hop was ’73, then 10 years later you have people rapping in French. And you have this spread to the West Coast.\u003c/b>\u003c/p>\n\u003cp>Well, that’s one way to look at it. Or the other way is to understand that Indigenous folks, and in this case when I say “Indigenous” I’m saying people that come from Black communities — you know, “the hood,” so to speak — we always had these expressions. And so hip-hop had two types of responses. If you talk to Commander C and Diamond from the Dazzling Two, and you tell them about rap, them being from [the East Bay], their response wouldn’t have been, “Oh wow, this is great. How do you do it?” Their response would have been more like, “Oh man, that sounds like something my uncle used to do.” Because there would be a reference point. “Oh man, it sounds like some hambone. That sounds like some pimp talk,” right? They’ve already seen people rhyming. They saw a \u003ci>Dolemite\u003c/i> movie. They had an uncle that would talk slick like that.\u003c/p>\n\u003cp>How [hip-hop] was packaged may have been new. Like, “Oh, I never thought to do it over beats like that.” But the concept wasn’t new. Then you have other people who’ve never seen anything like this. And their reference point then becomes, “What did I see on TV?” And if you’re telling me this is a New York thing, then I want to soak up everything that came out of New York. Whereas, I think a Richmond and Oakland cat was like, “This is good. I’m going to integrate this New York style with things that I’ve already done.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/5Qh4JQ3yYUFhaC8t49NZnx?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>So if you listen to those guys, to their credit, they didn’t try to sound like they were from New York. They still sound like some cat from Richmond in ’83, ’84. And I think that’s a testament to the Bay. [It] has its own identity… They didn’t feel like [they] needed to follow a prescribed path.\u003c/p>\n\u003cp>You have to understand that there’s no YouTube at the time. Most people never saw a video like this until years later. This wasn’t on Channel Two or ABC or anything like that. This was something that [you] had to be there [for]. So for a lot of folks, they hadn’t seen this whole package until that day… And that’s what made it special. And I think if you were there, what I recall was the energy. There was a vibe. And it was almost euphoric, especially once the dancers got on.\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/JrbBU_Mfi1s'\n title='//www.youtube.com/embed/JrbBU_Mfi1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>The dancers turned it out. There’s a scene where the dancers line up. You think it’s about to start, and then they drop their pants and they have pants under their pants. And you see their uniforms, and it’s like, ‘Oh, it’s about to go down.’\u003c/b>\u003c/p>\n\u003cp>But you also got to remember, in the Bay dance expression has been around for a long time too. They’re doing breaking, right? But there was a Bay style of dance that is — big shout out to The Black Resurgents and The Messengers, and all those groups. The Black Resurgents just celebrated their 50th anniversary. They were doing the boogaloo, and they were strutting, and they were roboting. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So these guys [on campus] were breaking, they weren’t doing Bay traditional dances, and we can get into why that was the case: Because [some of] those guys who came out of that dance era that actually predates hip-hop in New York had aged out. They were older, doing other things. And the fascination of hip-hop out of New York was really through the visuals of dance.\u003c/p>\n\u003cp>\u003cb>I should acknowledge the fact that the elements that are hip-hop were present even before 1973 in the Bay Area, right?\u003c/b>\u003c/p>\n\u003cp>We’ve always danced. Percussion has always been our thing, right? Black people are the people of the drum. Native folks are people of the drum, so the drum is not foreign. And rhyming has been around for a very long time. Having all those elements put together in a package like that had not happened. So again, It’s not “either or,” it’s “both and.”\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/ALLGyes9MhA'\n title='//www.youtube.com/embed/ALLGyes9MhA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>One of the big things that jumped out at me about the video is that it’s at Sproul Plaza, and this is the home of the Free Speech Movement and anti-Vietnam War protests. Having this event at that same hallowed ground, does that bring some type of legitimacy? Legitimacy is a loaded word, but does it bring some weight to it?\u003c/b>\u003c/p>\n\u003cp>I don’t think people were thinking of it at that time. I certainly wasn’t. The reason we did it at Sproul Plaza was because that’s where all the Black folks hung out, the fraternities: the Alphas, who were probably the biggest one. And the Kappas, when they did their step shows, they did it on Sproul Plaza, right? Sproul Plaza is right there at the entry of the campus, so if you want to get maximum people, you’re going to do it on Sproul Plaza. The second one we did down in Zellerbach, but it wasn’t like, “Aw man, the Free Speech Movement happened here, let’s do it on Sproul Plaza.”\u003c/p>\n\u003cfigure id=\"attachment_13923986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-800x987.png\" alt='Davey D explains this new thing called \"hip-hop\" in this one-sheeter from 1984.' width=\"800\" height=\"987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-800x987.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-1020x1258.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-160x197.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-768x947.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM.png 1218w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davey D explains this new thing called “hip-hop” in this one-sheeter from 1984. \u003ccite>(Via Dave \"Davey D\" Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>And you said you passed out a flyer there.\u003c/b>\u003c/p>\n\u003cp>Not a flyer, but a piece of — it was an article that I wrote explaining what hip-hop was.\u003c/p>\n\u003cp>\u003cb>A one-sheeter, right?\u003c/b>\u003c/p>\n\u003cp>A one-sheeter, yeah.\u003c/p>\n\u003cp>\u003cb>Why would you need to pass on a one-sheeter explaining hip-hop?\u003c/b>\u003c/p>\n\u003cp>Because people didn’t know at that time, and you wanted to make sure they had it. What are you watching? Why are you watching this? So, again, for many people that was the first time they saw something live like that. We take it for granted now, but in 1984, you didn’t see that like that. There wasn’t no [hip-hop] block parties here. So this was the first time for a lot of people. And we wanted to make sure that they had an understanding.\u003c/p>\n\u003cp>My mom was mad because she said, “You didn’t put your name on it.” She’s like, “Put your name on it so people know that you wrote this, I don’t want nobody taking your stuff.” And I was like, “Nah, ma, they seen me pass it out.” But it became important because a lot of people did use that article. It showed up in the \u003ci>San Francisco Chronicle\u003c/i>. There were people that quoted from it and didn’t know where it came from. I seen it on websites years later, right? But, you know, it’s actually \u003ca href=\"https://www.daveyd.com/whatishipdav.html\" target=\"_blank\" rel=\"noopener noreferrer\">on my site now\u003c/a>. I was asked to write it for a magazine, so I rewrote that and added to it.\u003c/p>\n\u003cp>\u003cb>In the early days, how did hip-hop culture spread to the Bay Area?\u003c/b>\u003c/p>\n\u003cp>It spread the same way that it does everywhere else where Black folks are. First, we have to ask the question: What parts of hip-hop? So you have to get a graff writer in here to break down how they were passing along secrets and understandings and cultural aesthetics. You know, somebody like \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>.\u003c/p>\n\u003cp>I think us as DJs, there’s a whole path that we took, right? … So I’ll give you an example: There was a guy named Quickie Kev who was on the campus, and I was the main DJ, but Quickie Kev came out of L.A. and he knew how to scratch. His scratch was picked up from [the radio station] KDAY. And at that time, they had a bunch of DJs on there. Tony G. Joe Cooley, right? So there was an “L.A. Fast Scratch,” that’s what we called it. And he picked that up, and he was vicious on it. So whenever he did a party, people were sitting around like, “Man, how do we do that?” So that became one way some of that trickery was passed along. Much of it was seeing somebody who had a skillset, and they would pick it up.\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/7bYXW4x7RXk'\n title='//www.youtube.com/embed/7bYXW4x7RXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Was there a point in the late ’80s, early ’90s where you could pinpoint and say hip-hop had irreversibly established itself?\u003c/b>\u003c/p>\n\u003cp>When \u003ci>Beat Street\u003c/i> came out, I think there was no turning back. Shout out to Harry Belafonte and all those people who put it together. I know we had \u003ci>Krush Groove\u003c/i>, and \u003ci>Wild Style\u003c/i> had come out prior to that. But I think \u003ci>Beat Street\u003c/i> because it was such a mainstream thing, it was the one that was for people who grew up with that in New York — this was a validation. I think there was no turning back at that point.\u003c/p>\n\u003cp>I remember, I was at a place called the Promenade, which is next to Marble Hill Projects in the Bronx. And my crew was doing a party. And I remember sitting there like, “Wow, look at all these people here.” And I said, “I wonder if people around the world know what we’re doing.” This is incredible. It just hit me. And within two years time, “\u003ca href=\"https://www.npr.org/2000/12/29/1116242/rappers-delight\" target=\"_blank\" rel=\"noopener noreferrer\">Rapper’s Delight\u003c/a>” came out and that was irreversible there.\u003c/p>\n\u003cp>\u003cb>So, one more question on my end: 50 years from now, hip-hop is…?\u003c/b>\u003c/p>\n\u003cp>Hip-hop will be a continuation of Black expression, it ain’t going nowhere. We’re gonna stop singing and vocalizing ourselves? No. We gonna stop dancing? No. Are we going to have different rhythms? Absolutely. You can have a crunk beat, boom-bap beat, hyphy beat, underground lo-fi beat, jazzy beat, right? You can have those 808 beats, Miami bass beat. There’s like 50 different beats that you can find within hip-hop. There will be new beats 50 years from now. It might not be called hip-hop, but it’s still going to be here.\u003c/p>\n\u003cp>It will never leave because hip-hop at its core is the expression of people who want to build community with one another. Who want to lose themselves in other ways, to express themselves and not be limited to what society says is valid expression.\u003c/p>\n\u003cp>The key for us is, can we connect the past with the present? And can we connect the past and present to the future? That’s our job. So we’re here to open your mind, and as Black Moon would say, “get you open.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Migrant Women Will March With Flags of Resilience in SF’s Chinese New Year Parade",
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"content": "\u003cp>In preparation for her latest endeavor, Bay Area artist \u003ca href=\"https://christinewongyap.com/\">Christine Wong Yap\u003c/a> had to brush up on her self-described “terrible” Spanish. She knew she was about to embark upon something ambitious: a trilingual community-based project that would push her to engage with strangers about the difficult subjects of mental health and migration. Over a year of extensive planning led to Yap’s \u003cem>\u003ca href=\"https://www.cccsf.us/how-i-keep-looking-up\">How I Keep Looking Up\u003c/a>\u003c/em>, a public art action that centers 16 Chinese and Latinx migrant women’s resounding stories of struggle and hope.\u003c/p>\n\u003cp>For the past three months, Yap led workshops at \u003ca href=\"https://www.41ross.org/\">41 Ross\u003c/a> and the \u003ca href=\"https://missionculturalcenter.org/\">Mission Cultural Center for Latino Arts\u003c/a>, where the women learned phrases from each other’s languages, shared meaningful anecdotes and designed flags that focus on their resilience. Many based their illustrations on comforting symbols like butterflies, birds and flowers to represent what they treasure most: their families, communities and personal journeys.\u003c/p>\n\u003cfigure id=\"attachment_13924501\" class=\"wp-caption aligncenter\" style=\"max-width: 1742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/image1.jpg\" alt=\"View of Portsmouth Square pedestrian bridge with line of flag holders extending down stairs and across bridge\" width=\"1742\" height=\"1308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1.jpg 1742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-1536x1153.jpg 1536w\" sizes=\"(max-width: 1742px) 100vw, 1742px\">\u003cfigcaption class=\"wp-caption-text\">‘How I Keep Looking Up’ members display their flags at a rehearsal. \u003ccite>(Kristie Song)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Participant Lupita Iraheta imagined herself as a boat, providing solace for those in search of safety, home and stability — a search that, at one point, burdened her deeply. Iraheta and her fellow designers will proudly carry their flags at the \u003ca href=\"https://chineseparade.com/\">San Francisco Chinatown Chinese New Year Parade\u003c/a> on Saturday, Feb. 4.\u003c/p>\n\u003cp>From the beginning, the women were eager to connect with one another despite their language barriers. “I think there’s an assumption that people who live in neighborhoods which are considered ethnic enclaves are not interested in building bridges with people in other neighborhoods,” says Yap. But the group readily interacted with one another — in an environment that fostered cross-cultural dialogue, vulnerability and open communication, their stories poured out. “I think when people can see that other people are learning from their experiences, it can be very powerful,” Yap continues.\u003c/p>\n\u003cfigure id=\"attachment_13924502\" class=\"wp-caption aligncenter\" style=\"max-width: 1764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/image2.jpg\" alt=\"Women in blue vests and pink sashes stretch their arms in a carpeted indoor space\" width=\"1764\" height=\"1165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2.jpg 1764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-1536x1014.jpg 1536w\" sizes=\"(max-width: 1764px) 100vw, 1764px\">\u003cfigcaption class=\"wp-caption-text\">‘How I Keep Looking Up’ designers stretch at their parade rehearsal. \u003ccite>(Kristie Song)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One week before their big parade debut, the group met for rehearsal at the Chinese Culture Center. Dressed in their performance costumes — iridescent blue vests adorned with shimmering flowers — they huddled close, sipping from paper cups as they awaited choreography instructions. Shortly after, \u003cem>How I Keep Looking Up\u003c/em> team members Andreína Maldonado and Stephan Xie lead the women through a series of marches and moves, translating instructions into Spanish and Cantonese, respectively.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bright mariachi songs bounced against the walls and the room broke into laughter as they marched and danced in place, playfully chiding one another for missed steps and mistakes. It is this infectious sense of joy that will propel them forward in the cold. As the women walked in neat rows and earnest unison, they never failed to look after their neighbors — reminding each other in small ways that the bonds they’ve created here are lasting and affirming. Despite an initial lack of understanding, they’ve seen one another. On Feb. 4, they will march together, keeping each other’s stories safe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘How I Keep Looking Up’ designers will debut their flags at the \u003ca href=\"https://chineseparade.com/\">Chinese New Year Parade\u003c/a> in San Francisco’s Chinatown on Feb. 4. Afterwards, the flags will be exhibited at the Chinese Culture Center of San Francisco Feb. 7–April 1. More information \u003ca href=\"https://www.cccsf.us/how-i-keep-looking-up\">here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In preparation for her latest endeavor, Bay Area artist \u003ca href=\"https://christinewongyap.com/\">Christine Wong Yap\u003c/a> had to brush up on her self-described “terrible” Spanish. She knew she was about to embark upon something ambitious: a trilingual community-based project that would push her to engage with strangers about the difficult subjects of mental health and migration. 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Many based their illustrations on comforting symbols like butterflies, birds and flowers to represent what they treasure most: their families, communities and personal journeys.\u003c/p>\n\u003cfigure id=\"attachment_13924501\" class=\"wp-caption aligncenter\" style=\"max-width: 1742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/image1.jpg\" alt=\"View of Portsmouth Square pedestrian bridge with line of flag holders extending down stairs and across bridge\" width=\"1742\" height=\"1308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1.jpg 1742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image1-1536x1153.jpg 1536w\" sizes=\"(max-width: 1742px) 100vw, 1742px\">\u003cfigcaption class=\"wp-caption-text\">‘How I Keep Looking Up’ members display their flags at a rehearsal. \u003ccite>(Kristie Song)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Participant Lupita Iraheta imagined herself as a boat, providing solace for those in search of safety, home and stability — a search that, at one point, burdened her deeply. Iraheta and her fellow designers will proudly carry their flags at the \u003ca href=\"https://chineseparade.com/\">San Francisco Chinatown Chinese New Year Parade\u003c/a> on Saturday, Feb. 4.\u003c/p>\n\u003cp>From the beginning, the women were eager to connect with one another despite their language barriers. “I think there’s an assumption that people who live in neighborhoods which are considered ethnic enclaves are not interested in building bridges with people in other neighborhoods,” says Yap. But the group readily interacted with one another — in an environment that fostered cross-cultural dialogue, vulnerability and open communication, their stories poured out. “I think when people can see that other people are learning from their experiences, it can be very powerful,” Yap continues.\u003c/p>\n\u003cfigure id=\"attachment_13924502\" class=\"wp-caption aligncenter\" style=\"max-width: 1764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/image2.jpg\" alt=\"Women in blue vests and pink sashes stretch their arms in a carpeted indoor space\" width=\"1764\" height=\"1165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2.jpg 1764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/image2-1536x1014.jpg 1536w\" sizes=\"(max-width: 1764px) 100vw, 1764px\">\u003cfigcaption class=\"wp-caption-text\">‘How I Keep Looking Up’ designers stretch at their parade rehearsal. \u003ccite>(Kristie Song)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One week before their big parade debut, the group met for rehearsal at the Chinese Culture Center. Dressed in their performance costumes — iridescent blue vests adorned with shimmering flowers — they huddled close, sipping from paper cups as they awaited choreography instructions. Shortly after, \u003cem>How I Keep Looking Up\u003c/em> team members Andreína Maldonado and Stephan Xie lead the women through a series of marches and moves, translating instructions into Spanish and Cantonese, respectively.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bright mariachi songs bounced against the walls and the room broke into laughter as they marched and danced in place, playfully chiding one another for missed steps and mistakes. It is this infectious sense of joy that will propel them forward in the cold. As the women walked in neat rows and earnest unison, they never failed to look after their neighbors — reminding each other in small ways that the bonds they’ve created here are lasting and affirming. Despite an initial lack of understanding, they’ve seen one another. On Feb. 4, they will march together, keeping each other’s stories safe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘How I Keep Looking Up’ designers will debut their flags at the \u003ca href=\"https://chineseparade.com/\">Chinese New Year Parade\u003c/a> in San Francisco’s Chinatown on Feb. 4. Afterwards, the flags will be exhibited at the Chinese Culture Center of San Francisco Feb. 7–April 1. More information \u003ca href=\"https://www.cccsf.us/how-i-keep-looking-up\">here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"radiolab": {
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"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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"rightnowish": {
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"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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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