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"content": "\u003cp>In all my decades of grungy Bay Area living, I’ve never once heard anyone refer to BART as “cute.”\u003c/p>\n\u003cp>Ugly? Sure. Smelly? Most certainly. But is riding BART cute? \u003ca href=\"https://www.youtube.com/watch?v=bRChz-OYi9o\">E-40 voice\u003c/a>: \u003cem>Nope\u003c/em>.\u003c/p>\n\u003cp>This lack of friendly charm is probably why, 20 years ago, BART introduced the BARTmobile: a 6-foot-tall, 704-pound train replica that tours around the region as a form of cheery brand promotion.\u003c/p>\n\u003cp>The most lovable BART train, the BARTmobile celebrates its “20th Birthday” on Saturday, July 27, at Orinda BART Station. Event-goers (birthday party guests?) will be able to ride the BARTmobile — a rare opportunity — while live music, vendors, carnival games, face painting, stickers, cupcakes and temporary tattoos will all be provided for free.\u003c/p>\n\u003cp>In case you’ve never seen it out in public or at a hometown parade, the BARTmobile is a bright-eyed, squeezable-cheeked character with \u003ca href=\"https://www.bart.gov/news/articles/2024/news20240712\">a zany backstory\u003c/a> that dates back to Halloween of 2001. Its \u003ca href=\"https://x.com/thebartmobile?lang=en\">now-inactive Twitter account\u003c/a> delivered the kind of energy you would expect from a sleepless, overenthusiastic camp counselor: “While my siblings are stuck on the rails, I get to travel on roads and trucks and entertain people at parades and other public events! I love my life!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The BARTmobile was the brainchild of Doug Bartlett, a former BART Principal Marketing Representative, who originally “\u003ca href=\"https://www.bart.gov/news/articles/2024/news20240712\">set out to make the most fantastical, most adorable, most kid-friendly BARTmobile possible\u003c/a>.”\u003c/p>\n\u003cp>With the collective help of a playwright, a carpenter, a designer and a George Lucas-founded, Marin-based visual effects company that contributed to the making of \u003ci>Star Wars\u003c/i>, BART’s “roving mascot” was born inside a Bay Area garage in 2004. \u003c/p>\n\u003cfigure id=\"attachment_13961457\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/D7giBbkUEAAVqkH.jpg\" alt=\"\" width=\"600\" height=\"800\" class=\"size-full wp-image-13961457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/D7giBbkUEAAVqkH.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/D7giBbkUEAAVqkH-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The BARTmobile in 2019, at San Francisco’s Carnaval parade. \u003ccite>(BARTmobile/X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an imaginative application of plywood, polyurethane, fiberglass, a golf cart and a steel chassis — and with inspiration derived from the 1958 Volkswagen bus — the BARTmobile even included a functional BART train horn.\u003c/p>\n\u003cp>Since, the ebullient little engine has appeared at Golden State Warriors championship celebrations, St. Patrick’s Day, the San Francisco Gay Pride Parade and more.\u003c/p>\n\u003cp>Beyond celebrating BART’s Thomas the Engine-esque mascot, Saturday’s event is meant to encourage the use of public transit in the Bay Area. With BART’s recent debut of \u003ca href=\"https://contracosta.news/2023/05/26/bart-announces-anime-mascots/\">five unique anime characters\u003c/a>, it’s made strides in appealing to a younger, more diverse crowd of riders.\u003c/p>\n\u003cp>Am I a fan? E-40 voice: \u003cem>Yup\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.bart.gov/news/articles/2024/news20240715-0\">The BARTmobile’s ‘20th Birthday’ \u003c/a>is celebrated on Saturday, July 27, at Orinda BART Station (11 Camino Pablo, Orinda). Free.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In all my decades of grungy Bay Area living, I’ve never once heard anyone refer to BART as “cute.”\u003c/p>\n\u003cp>Ugly? Sure. Smelly? Most certainly. But is riding BART cute? \u003ca href=\"https://www.youtube.com/watch?v=bRChz-OYi9o\">E-40 voice\u003c/a>: \u003cem>Nope\u003c/em>.\u003c/p>\n\u003cp>This lack of friendly charm is probably why, 20 years ago, BART introduced the BARTmobile: a 6-foot-tall, 704-pound train replica that tours around the region as a form of cheery brand promotion.\u003c/p>\n\u003cp>The most lovable BART train, the BARTmobile celebrates its “20th Birthday” on Saturday, July 27, at Orinda BART Station. Event-goers (birthday party guests?) will be able to ride the BARTmobile — a rare opportunity — while live music, vendors, carnival games, face painting, stickers, cupcakes and temporary tattoos will all be provided for free.\u003c/p>\n\u003cp>In case you’ve never seen it out in public or at a hometown parade, the BARTmobile is a bright-eyed, squeezable-cheeked character with \u003ca href=\"https://www.bart.gov/news/articles/2024/news20240712\">a zany backstory\u003c/a> that dates back to Halloween of 2001. Its \u003ca href=\"https://x.com/thebartmobile?lang=en\">now-inactive Twitter account\u003c/a> delivered the kind of energy you would expect from a sleepless, overenthusiastic camp counselor: “While my siblings are stuck on the rails, I get to travel on roads and trucks and entertain people at parades and other public events! I love my life!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The BARTmobile was the brainchild of Doug Bartlett, a former BART Principal Marketing Representative, who originally “\u003ca href=\"https://www.bart.gov/news/articles/2024/news20240712\">set out to make the most fantastical, most adorable, most kid-friendly BARTmobile possible\u003c/a>.”\u003c/p>\n\u003cp>With the collective help of a playwright, a carpenter, a designer and a George Lucas-founded, Marin-based visual effects company that contributed to the making of \u003ci>Star Wars\u003c/i>, BART’s “roving mascot” was born inside a Bay Area garage in 2004. \u003c/p>\n\u003cfigure id=\"attachment_13961457\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/D7giBbkUEAAVqkH.jpg\" alt=\"\" width=\"600\" height=\"800\" class=\"size-full wp-image-13961457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/D7giBbkUEAAVqkH.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/D7giBbkUEAAVqkH-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The BARTmobile in 2019, at San Francisco’s Carnaval parade. \u003ccite>(BARTmobile/X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an imaginative application of plywood, polyurethane, fiberglass, a golf cart and a steel chassis — and with inspiration derived from the 1958 Volkswagen bus — the BARTmobile even included a functional BART train horn.\u003c/p>\n\u003cp>Since, the ebullient little engine has appeared at Golden State Warriors championship celebrations, St. Patrick’s Day, the San Francisco Gay Pride Parade and more.\u003c/p>\n\u003cp>Beyond celebrating BART’s Thomas the Engine-esque mascot, Saturday’s event is meant to encourage the use of public transit in the Bay Area. With BART’s recent debut of \u003ca href=\"https://contracosta.news/2023/05/26/bart-announces-anime-mascots/\">five unique anime characters\u003c/a>, it’s made strides in appealing to a younger, more diverse crowd of riders.\u003c/p>\n\u003cp>Am I a fan? E-40 voice: \u003cem>Yup\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.bart.gov/news/articles/2024/news20240715-0\">The BARTmobile’s ‘20th Birthday’ \u003c/a>is celebrated on Saturday, July 27, at Orinda BART Station (11 Camino Pablo, Orinda). Free.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "from-buskin-on-bart-to-teaching-turfin",
"title": "From Buskin’ on BART to Teaching Turfin’",
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"headTitle": "From Buskin’ on BART to Teaching Turfin’ | KQED",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>“T\u003cspan style=\"font-weight: 400\">urfin’ is a way of life for me,” says \u003c/span>Telice Summerfield, a dancer who has the ability turn a BART platform into a stage where she can glide, tut, bend and bone break on beat. She exchanges energy with onlookers; they get entertained and she gets empowered. The dance is an art. It’s also a political act, as she takes up space at will.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\" target=\"_blank\" rel=\"noopener\">Turf, \u003c/a>an acronym that stands for “taking up room on the floor,” is a style of dance that’s native to Oakland. During the hyphy movement of the early 2000s, the moves people were doing at house parties and in music videos left an indelible impression on Telice, as a youngster growing up in South Sacramento. When she was a teenager, her mother would drive her to functions in the Bay Area so she could be a part of the action. And as a young adult attending UC Berkeley, Telice found a home in Oakland’s turf dancing community.\u003c/p>\n\u003cfigure id=\"attachment_13940115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13940115 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-800x533.jpg\" alt=\"Telice Summerfield's hair swings as she gigs in the center of a crowd during a recent battle.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield’s hair swings as she gigs in the center of a crowd during a recent battle. \u003ccite>(Amy Marie Elmer / Artful Eye Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through this community, Telice has built a career in dance. Last year alone she hosted the 2023 Red Bull Dance Your Style Competition, taught turf dancing to young folks at an elementary school in West Oakland, and led lessons on dance at the Oakland Museum of California.\u003c/p>\n\u003cp>Today we discuss how the hyphy movement opened her eyes to the arts as a child, how her experience at UC Berkeley exposed her to inequalities on campus as a young adult, and what dancing on BART has taught her about sociology. Now that Telice is a known name in the dancing world, she also gives us some insight on her plans to take the culture even further.\u003c/p>\n\u003cp>https://www.instagram.com/reel/ClfT3U6Dw3_/\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=KQINC7950103605&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw, host:\u003c/strong> Hey, what’s up family, welcome to Rightnowish. I’m your host, Pendarvis Harshaw, sliding in the studio to bring you a story that’s for sure going to get you moving.\u003c/p>\n\u003cp>If you’re an avid BART rider, chances are you’ve seen folks dancing on the train to make a lil change. The style of dance most people do on BART is T.U.R.F. Dancing, a type of dance that emerged from Oakland in the late 90s and early 2000s. It was popularized during the hyphy movement, and in many ways it carried the culture.\u003c/p>\n\u003cp>More than just going dumb, T.U.R.F. Dancing is about the smooth footwork, pantomiming and making facial expressions. It’s about the bone-breaking, tutting, and pop-locking. It’s storytelling on beat, and being player about it.\u003c/p>\n\u003cp>This week we’re talking to Telice Summerfield, a T.U.R.F. dancer who takes the meaning behind the acronym T.U.R.F.– taking up room on the floor– seriously.\u003c/p>\n\u003cp>Originally from South Sacramento, Telice was a kid when the hyphy movement kicked off. But she took note of it all: the good, the bad, and the dance moves.\u003c/p>\n\u003cp>And since then she’s gone on to teach dance classes in schools, host events at the Oakland Museum of California, and shine on stage at Red Bull’s Dance Your Style competition.\u003c/p>\n\u003cp>If you’re lucky enough to get on the right BART train, you’ll find Telice going from station to station, giggin’, doing bone-breaking contortions, and acrobatic moves as she performs on public transit. It’s because of this work ethic and talent that Telice’s name now rings bells in the Bay and beyond.\u003c/p>\n\u003cp>Today on Rightnowish, Telice shares a bit about her upbringing in Sacramento, her affection for the Town and how she’s T.U.R.F. danced all over Northern California– carrying the hyphy flag with her, and keeping the culture lit for the next generation.\u003c/p>\n\u003cp>All of that and more, right after this.\u003c/p>\n\u003cp>What’s your earliest memory of turf dancing, when was the first time you saw it?\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> So when I was 11, my.. I want to call her my cousin, but she really like my little brother’s auntie. She were not, like, blood re-. Anyways, she threw a party. I want to say she was like a junior or senior in high school, and she threw a big ass party right there in Meadowview and it was so lit. It was like my first function. And in there they was fuckin wit’ it they was turfin’. And Iike it just was… it so lit. It was like one of the most hyphiest young moments of my life.\u003c/p>\n\u003cp>By, like, my junior year of high school, I was like ditching school to go to the battles or I would like, leave whatever school event. I was into extracurriculars, very studious, very smart. But I would be leaving the school shit to go dance because that’s really where my heart was.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> During that time period, we have this thing called the hyphy movement. And through that, it furthered the cultural identity of Northern California hip hop. And it spoke to you in Sacramento. You latched on to it. What was it about the hyphy movement that spoke to you?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Oh, my goodness. I felt a sense of like, ‘ooh, that’s me.’ Like, it was just like a sense of resonance, you know? Um, it allowed me to be free.\u003c/p>\n\u003cp>With the hyphy movement and with hyphy culture and like just the energy behind it, there’s a sense of like, relief and freedom and like, “Oh, you don’t actually got to sit like this and eat like this and do this.” And there’s no supposed to. You know, you could just like fuck with it, you feel me. And like it was very electric for me. Like I will always turn up. The Federation was my favorite. And whenever I felt constrained by rules or by circumstance or by um, obstacles, I could always turn on some hyphy slaps and it would just be lit like, I just would feel better, you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Something that I really wanted to touch on, is the fact that your mother would drive you and sometimes even your siblings to functions in Oakland so that you could dance. What did her belief in you do for you as a burgeoning dancer?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> She would do all of that sacrificing, and mind you she was like… the battles back in the day was like 25 dollars, maybe 20, 25 dollars. And she couldn’t afford to get us all if she would drive all the way from Sac, maybe with my siblings in a car, if they was around, if not, they was at home or whatever. But they would all wait outside for me and she would pay for me to get into battles and wait hours, hours for me to just be exposed, like maybe, maybe not cypher, maybe, maybe not meet a few people. You know what I mean?\u003c/p>\n\u003cp>Like, I was a lot more reserved and a lot less confident at the time, and so she would go the extra mile just for me to have the exposure to what I love most. And for me, like, especially in hindsight, I can never pay her back for that. You know, it’s like an investment that, like, she really believes in me and it’s paid off. You know, I’m able to pay my bills now off of dance, just off of me being who I am. And like, that’s a blessing. That is… that’s irreplaceable. You know, you can’t put a price tag on that. So, her investment in me way back when just showed me that she believed in whatever I decide to do, she gon’ stand ten toes behind me.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That’s beautiful. As a parent I know that that’s something that, yeah, you kind of live through your child in a lot of ways. And… and so seeing you pursue your dreams and be successful, I’m sure she’s proud of you.\u003c/p>\n\u003cp>Something I got to get here because this is an important part of your story. You get into UC Berkeley, you move to the Bay Area. You study social welfare as well as Spanish, and at the same time you weren’t all the way feeling what UC Berkeley was in terms of the social life on campus. So you ended up in Oakland. What did Oakland provide for you as an outlet during that time period?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Oakland provided a sense of like home. Like it didn’t feel like there were as many social expectations or regulations. Racism wasn’t as heavy as it was in Berkeley. My craft held more weight in Oakland, you know, like I feel like my… I could take my craft to Oakland anywhere, you know, especially on the trains. Well, like, anywhere really and be recognized for what I do and, like, really be affirmed in what I do. Whereas like in Berkeley, it just was like, “Oh, that’s cool,” you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Very much so. I went to Berkeley for grad school. Similar situation where on Fridays I would drop my backpack off and just be in the town and I… It was a release, I could breathe again.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> And that’s a lot of the reason why I would either if I was in Berkeley, I was either at home, in class, or on my way to the BART.\u003cem> [chuckles]\u003c/em> Like, I was never really kickin’ it in Berkeley. I never really was fucking with the parties like that, like none of that, because I didn’t feel a sense of belonging. I didn’t feel like there was room for, like, real black girls, like.\u003c/p>\n\u003cp>Berkeley is well known for its political activism, its progressive activism, but there also still exists a lot of hegemony and hierarchy in that arena just to even have access to it, you know. So I felt that a lot and just Oakland gave me an escape. It gave me access to myself.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That makes perfect sense then. And that investment in yourself paid dividends. You furthered your community. You met folks who were into dance just like you were. You met my best friend in the world, Jesus.. Zeus El, who’s a legendary turf dancer. And so I’ve known Zeus since seventh grade, and I’ve seen him develop this turf dance family kind of from the outside. You know, I know a lot of the people, but I’m not a dancer, so I’m not in it. And so I’m wondering, what is it like being inside of that turf dancing family?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> First of all, shout out to Zeus. I love him so much. That’s big bro.\u003c/p>\n\u003cp>He’s incredible. He takes everybody in with open arms. And that’s not the case for all the turfers. And that’s not… that’s not our general standard of embracing people. You know, a lot of times people have to earn it. But he just like, welcomed me and I just- I’m so grateful.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Being inside of that family is like it’s very nuanced. Like there’s very, very high highs and the lows really kick you in your ass and there’s a lot of politics too, that are not easily, uh, legible to an onlooker, right or somebody who just whose perspective is from the outside in.\u003c/p>\n\u003cp>It’s very critical that we stay connected, even if we don’t see eye to eye or even if we don’t agree on a topic. Being in that family is not easy, but Zeus made it a lot easier. Like I met, he was one of the first people I met in my first, like, day of being in Berkeley by myself without my family, you know. Like I went to the gym and I went to go flip with him. And that also gave me a sense of myself because I’ve been an athlete for a long time. And it just reminded me like, there’s not… you don’t have to separate your identity into categories, like they can all blend and serve your purpose for who you are.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You came out and you stole the show at a KQED event. We were honoring dancers from… basically 100 years worth of dancing told through this show. And toward the end, we invited folks to come up on stage and start hittin it, and you came out there, giggin, you knew a little bit of everybody and folks knew you.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Being integral to what I love most has earned me the opportunity of getting to be who I am authentically, everywhere I go.\u003c/p>\n\u003cp>When you see me interacting with people and you see me like…. Like you said, I knew a little bit of everybody. Someone that I met from years ago in school could be at a KQED event and remember me or recognize me. Right. Or someone that I met through a village auntie can be at another event and remember me. You know what I mean? And so I think just like, developing authentic relationships and being authentic to who I am has allowed me to earn my name and earn like the…honor behind it.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You mentioned dancing in different places and people knowing you from the different hats that you wear. Do you have a different approach when you’re dancing on big stages or community events or even on BART?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Dancing on big stages is really fun. It’s really fun because the support is for the most part, it’s overwhelming.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> It allows me to expose the culture to a larger amount of people and the way that I do it, is unique because I wasn’t here, you know, I wasn’t in the Town in 2006, 2007, 2008, right? So the way that I do it has to be genuine to who I am.\u003c/p>\n\u003cp>It feels empowering to dance on BART because I know that I can always feed myself off my craft, you know? But there’s… there’s, like, nuances, right? Like, there’s the good with the bad. Like, BART is not the cleanest place to be hustling. It’s not the cleanest place to be dancing, you know? So I don’t sit down when I’m dancing on BART. Like I don’t sit down on BART, period.\u003c/p>\n\u003cp>Most people who see dancers on BART, they rarely see girls. They rarely see girls who are raw. I don’t know, I don’t even really see girls like that and I be out there! So, like…\u003c/p>\n\u003cp>Turfing in itself is taken up from on a floor, right? And it’s like radical, it’s political. It’s not- it’s not just dance moves Like you can feel it, it pierces you, you know, And whether I’m dancing on BART, whether I’m dancing in a battle, whether I’m dancing at first Friday, whether I’m dancing at a music festival, like people can feel that.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That’s dope, Okay.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> And, in terms of that validity in developing community and reaching folks during the pandemic, BART ridership took a dive. You pivoted and started doing work online. You developed a dance club called “Pussy Power Dance” and it became popular. Why do you think folks latched onto it?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Well, I created Pussy Power out of a deficit of platform, right. Each month I would host a IG live session and it would last for about an hour and I would invite girls to come and perform on Pussy Power and, um, they would take 3 to 5 minutes to dance and they would just showcase. And I made it a showcase on purpose so that it was more open to all level styles, backgrounds, like I didn’t want it to feel like a competition or like a battle or like you’re going against all these girls in the live, right?\u003c/p>\n\u003cp>And I think that people latched on to it because they probably felt the same way and also because they saw how unifying it was from like, the barriers of time, space, language, level of dance, and any other constraints that could keep us away from each other, they- those obstacles didn’t limit us when we were on pussy power. So like, every episode was so inspiring, and all the girls were like, ‘oh my goodness!’ It was just so cool.\u003c/p>\n\u003cp>To me, giving back is a part of why I do everything that I do. Like I want everyone to walk away with something, even if it’s inspiration or hopefully it’s tangible. And so through Pussy Power, even though there was all these dimensions that kept us apart, I still was able to give back in tangible ways and that made it more popular.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> It’s something, you seem like you’ve etched out a career path. Now you’re working in education as well, teaching young folks dance in West Oakland. Tell me more about your day job.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> My day job is teaching dance at an elementary school in West Oakland. And I teach from preschool up until fourth grade. Basically, there’s two classes of each grade and each class like, circulates through my class,\u003c/p>\n\u003cp>In my class we do, like it’s not elite dancing at all, you know, it’s not like it’s not “traditional” what traditional dance classes would look like, where like they’re learning a choreography and then they’re doing the choreography, right?\u003c/p>\n\u003cp>It’s more of like embracing movement as a creative expression of empowerment. You know, it’s like confidence building. It’s like them embracing that dance culture is really fun.\u003c/p>\n\u003cp>What I do, like, my role is to, like, uplift them and empower them and like, show them like, even if you don’t feel like the best dancer in the world, you can still come touch the stage and show some poses. And, you know, you can walk down a Soul Train line like the queen that you are. And so that allows them to share information of movement with each other, um, back and forth and just like embrace each other, you know, really see each other.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> And then beyond that, you also do workshops with folks of all ages through the Oakland Museum of California. What’s that experience been like?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> The Oakland Museum, shout out to them. I love them so much. The workshop that I taught recently, it did have a diverse age group and I’m grateful for that because the movement and the information that I have to offer. I do want it to be accessible to everyone. And so I hosted a dance workshop on the front steps in the front patio of the Oakland Museum. And at first it was like only a few people. And like, there was some people who were feeling shy so they just wanted to watch. And then there are some people who are like, “Yeah, I’ll do it..I come fuck with y’all.” But by the end of the class it was like a good 15, 20 people and they all like, “Yeah!” You know, they’re all really excited.\u003c/p>\n\u003cp>And I like to end with uh, activities, games, you know, dance circles, things like that, because it… it’s not so like… accomplished-based. It’s actually about how you feel because it’s not just a dance move. It’s not just a dance style. It’s like a… It’s a feeling, you know what I mean? It’s like a… it’s like a radical act, it’s a radical practice. So people feel that when they’re in my classes, in my space, learning from me, they always leave with smiles. And that just makes me feel like, oh my goodness.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You’re doing the work. You’re doing the work. And it’s, I mean, the smiles and also like having income based on it, being able to make a living off of dance, that’s a sign that you’re on the right path. With that said, why do you personally think it’s important to pass down these lessons to the next generation?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Several reasons, I really in my heart, I know that if we don’t pay it forward, the culture will die, like, just period.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> You know, and so, I really, as someone who’s really passionate about it and who cares about this a lot and like who makes a living and defines my path with this turfin’ shit, like turfing is a way of life for me. And as someone who uses this practice as a way of life, it’s critical to pass it down. It’s critical to pay it forward. So that way I’m not always… the burden isn’t always on me to keep this alive. Like, you know, it’s not just on any of us. Like we have a whole ‘nother generation of people who are emerging and maybe they can do a little bit more with this practice, with this community than we were able to do. You know, maybe they can reach farther than we were able to reach, you know?\u003c/p>\n\u003cp>Like there’s a lot of people around the world who want to learn turfing, you know, and we have it. It’s not like we’re not capable. There’s just some disconnects that I want to, like, connect so that not only I can get paid boucou money to travel the world, to teach and learn turfing. But my peers and my… my youngins can also do the same and see tangible opportunity from this, you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Everybody eats, B.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Everybody eats. Everybody walks away with something.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> I want to give a huge shoutout to Telice Summerfield. You’ve found your path, and you’ve simultaneously carried the culture with you! Thank you. Thank you for taking it even further!\u003c/p>\n\u003cp>You all can follow her on Instagram at tuuhleacee spelled T-U-U-H-L-E-A-C-E-E. And that’s the best way to stay updated on Telice’s upcoming performances, classes and more.\u003c/p>\n\u003cp>This episode was hosted by me, Pendarvis Harshaw.\u003c/p>\n\u003cp>It was produced by Marisol Medina-Cadena and Sheree Bishop.\u003c/p>\n\u003cp>Chris Hambrick is our editor.\u003c/p>\n\u003cp>Christopher Beale is our engineer.\u003c/p>\n\u003cp>Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/p>\n\u003cp>If you liked this episode, please share it with a friend, or write a review on your favorite podcast platform. It helps more people find us. Thanks y’all.\u003c/p>\n\u003cp>Rightnowish is a KQED Production.\u003c/p>\n\u003cp>Peace.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>“T\u003cspan style=\"font-weight: 400\">urfin’ is a way of life for me,” says \u003c/span>Telice Summerfield, a dancer who has the ability turn a BART platform into a stage where she can glide, tut, bend and bone break on beat. She exchanges energy with onlookers; they get entertained and she gets empowered. The dance is an art. It’s also a political act, as she takes up space at will.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\" target=\"_blank\" rel=\"noopener\">Turf, \u003c/a>an acronym that stands for “taking up room on the floor,” is a style of dance that’s native to Oakland. During the hyphy movement of the early 2000s, the moves people were doing at house parties and in music videos left an indelible impression on Telice, as a youngster growing up in South Sacramento. When she was a teenager, her mother would drive her to functions in the Bay Area so she could be a part of the action. And as a young adult attending UC Berkeley, Telice found a home in Oakland’s turf dancing community.\u003c/p>\n\u003cfigure id=\"attachment_13940115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13940115 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-800x533.jpg\" alt=\"Telice Summerfield's hair swings as she gigs in the center of a crowd during a recent battle.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield’s hair swings as she gigs in the center of a crowd during a recent battle. \u003ccite>(Amy Marie Elmer / Artful Eye Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through this community, Telice has built a career in dance. Last year alone she hosted the 2023 Red Bull Dance Your Style Competition, taught turf dancing to young folks at an elementary school in West Oakland, and led lessons on dance at the Oakland Museum of California.\u003c/p>\n\u003cp>Today we discuss how the hyphy movement opened her eyes to the arts as a child, how her experience at UC Berkeley exposed her to inequalities on campus as a young adult, and what dancing on BART has taught her about sociology. Now that Telice is a known name in the dancing world, she also gives us some insight on her plans to take the culture even further.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw, host:\u003c/strong> Hey, what’s up family, welcome to Rightnowish. I’m your host, Pendarvis Harshaw, sliding in the studio to bring you a story that’s for sure going to get you moving.\u003c/p>\n\u003cp>If you’re an avid BART rider, chances are you’ve seen folks dancing on the train to make a lil change. The style of dance most people do on BART is T.U.R.F. Dancing, a type of dance that emerged from Oakland in the late 90s and early 2000s. It was popularized during the hyphy movement, and in many ways it carried the culture.\u003c/p>\n\u003cp>More than just going dumb, T.U.R.F. Dancing is about the smooth footwork, pantomiming and making facial expressions. It’s about the bone-breaking, tutting, and pop-locking. It’s storytelling on beat, and being player about it.\u003c/p>\n\u003cp>This week we’re talking to Telice Summerfield, a T.U.R.F. dancer who takes the meaning behind the acronym T.U.R.F.– taking up room on the floor– seriously.\u003c/p>\n\u003cp>Originally from South Sacramento, Telice was a kid when the hyphy movement kicked off. But she took note of it all: the good, the bad, and the dance moves.\u003c/p>\n\u003cp>And since then she’s gone on to teach dance classes in schools, host events at the Oakland Museum of California, and shine on stage at Red Bull’s Dance Your Style competition.\u003c/p>\n\u003cp>If you’re lucky enough to get on the right BART train, you’ll find Telice going from station to station, giggin’, doing bone-breaking contortions, and acrobatic moves as she performs on public transit. It’s because of this work ethic and talent that Telice’s name now rings bells in the Bay and beyond.\u003c/p>\n\u003cp>Today on Rightnowish, Telice shares a bit about her upbringing in Sacramento, her affection for the Town and how she’s T.U.R.F. danced all over Northern California– carrying the hyphy flag with her, and keeping the culture lit for the next generation.\u003c/p>\n\u003cp>All of that and more, right after this.\u003c/p>\n\u003cp>What’s your earliest memory of turf dancing, when was the first time you saw it?\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> So when I was 11, my.. I want to call her my cousin, but she really like my little brother’s auntie. She were not, like, blood re-. Anyways, she threw a party. I want to say she was like a junior or senior in high school, and she threw a big ass party right there in Meadowview and it was so lit. It was like my first function. And in there they was fuckin wit’ it they was turfin’. And Iike it just was… it so lit. It was like one of the most hyphiest young moments of my life.\u003c/p>\n\u003cp>By, like, my junior year of high school, I was like ditching school to go to the battles or I would like, leave whatever school event. I was into extracurriculars, very studious, very smart. But I would be leaving the school shit to go dance because that’s really where my heart was.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> During that time period, we have this thing called the hyphy movement. And through that, it furthered the cultural identity of Northern California hip hop. And it spoke to you in Sacramento. You latched on to it. What was it about the hyphy movement that spoke to you?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Oh, my goodness. I felt a sense of like, ‘ooh, that’s me.’ Like, it was just like a sense of resonance, you know? Um, it allowed me to be free.\u003c/p>\n\u003cp>With the hyphy movement and with hyphy culture and like just the energy behind it, there’s a sense of like, relief and freedom and like, “Oh, you don’t actually got to sit like this and eat like this and do this.” And there’s no supposed to. You know, you could just like fuck with it, you feel me. And like it was very electric for me. Like I will always turn up. The Federation was my favorite. And whenever I felt constrained by rules or by circumstance or by um, obstacles, I could always turn on some hyphy slaps and it would just be lit like, I just would feel better, you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Something that I really wanted to touch on, is the fact that your mother would drive you and sometimes even your siblings to functions in Oakland so that you could dance. What did her belief in you do for you as a burgeoning dancer?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> She would do all of that sacrificing, and mind you she was like… the battles back in the day was like 25 dollars, maybe 20, 25 dollars. And she couldn’t afford to get us all if she would drive all the way from Sac, maybe with my siblings in a car, if they was around, if not, they was at home or whatever. But they would all wait outside for me and she would pay for me to get into battles and wait hours, hours for me to just be exposed, like maybe, maybe not cypher, maybe, maybe not meet a few people. You know what I mean?\u003c/p>\n\u003cp>Like, I was a lot more reserved and a lot less confident at the time, and so she would go the extra mile just for me to have the exposure to what I love most. And for me, like, especially in hindsight, I can never pay her back for that. You know, it’s like an investment that, like, she really believes in me and it’s paid off. You know, I’m able to pay my bills now off of dance, just off of me being who I am. And like, that’s a blessing. That is… that’s irreplaceable. You know, you can’t put a price tag on that. So, her investment in me way back when just showed me that she believed in whatever I decide to do, she gon’ stand ten toes behind me.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That’s beautiful. As a parent I know that that’s something that, yeah, you kind of live through your child in a lot of ways. And… and so seeing you pursue your dreams and be successful, I’m sure she’s proud of you.\u003c/p>\n\u003cp>Something I got to get here because this is an important part of your story. You get into UC Berkeley, you move to the Bay Area. You study social welfare as well as Spanish, and at the same time you weren’t all the way feeling what UC Berkeley was in terms of the social life on campus. So you ended up in Oakland. What did Oakland provide for you as an outlet during that time period?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Oakland provided a sense of like home. Like it didn’t feel like there were as many social expectations or regulations. Racism wasn’t as heavy as it was in Berkeley. My craft held more weight in Oakland, you know, like I feel like my… I could take my craft to Oakland anywhere, you know, especially on the trains. Well, like, anywhere really and be recognized for what I do and, like, really be affirmed in what I do. Whereas like in Berkeley, it just was like, “Oh, that’s cool,” you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Very much so. I went to Berkeley for grad school. Similar situation where on Fridays I would drop my backpack off and just be in the town and I… It was a release, I could breathe again.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> And that’s a lot of the reason why I would either if I was in Berkeley, I was either at home, in class, or on my way to the BART.\u003cem> [chuckles]\u003c/em> Like, I was never really kickin’ it in Berkeley. I never really was fucking with the parties like that, like none of that, because I didn’t feel a sense of belonging. I didn’t feel like there was room for, like, real black girls, like.\u003c/p>\n\u003cp>Berkeley is well known for its political activism, its progressive activism, but there also still exists a lot of hegemony and hierarchy in that arena just to even have access to it, you know. So I felt that a lot and just Oakland gave me an escape. It gave me access to myself.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That makes perfect sense then. And that investment in yourself paid dividends. You furthered your community. You met folks who were into dance just like you were. You met my best friend in the world, Jesus.. Zeus El, who’s a legendary turf dancer. And so I’ve known Zeus since seventh grade, and I’ve seen him develop this turf dance family kind of from the outside. You know, I know a lot of the people, but I’m not a dancer, so I’m not in it. And so I’m wondering, what is it like being inside of that turf dancing family?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> First of all, shout out to Zeus. I love him so much. That’s big bro.\u003c/p>\n\u003cp>He’s incredible. He takes everybody in with open arms. And that’s not the case for all the turfers. And that’s not… that’s not our general standard of embracing people. You know, a lot of times people have to earn it. But he just like, welcomed me and I just- I’m so grateful.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Being inside of that family is like it’s very nuanced. Like there’s very, very high highs and the lows really kick you in your ass and there’s a lot of politics too, that are not easily, uh, legible to an onlooker, right or somebody who just whose perspective is from the outside in.\u003c/p>\n\u003cp>It’s very critical that we stay connected, even if we don’t see eye to eye or even if we don’t agree on a topic. Being in that family is not easy, but Zeus made it a lot easier. Like I met, he was one of the first people I met in my first, like, day of being in Berkeley by myself without my family, you know. Like I went to the gym and I went to go flip with him. And that also gave me a sense of myself because I’ve been an athlete for a long time. And it just reminded me like, there’s not… you don’t have to separate your identity into categories, like they can all blend and serve your purpose for who you are.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You came out and you stole the show at a KQED event. We were honoring dancers from… basically 100 years worth of dancing told through this show. And toward the end, we invited folks to come up on stage and start hittin it, and you came out there, giggin, you knew a little bit of everybody and folks knew you.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Being integral to what I love most has earned me the opportunity of getting to be who I am authentically, everywhere I go.\u003c/p>\n\u003cp>When you see me interacting with people and you see me like…. Like you said, I knew a little bit of everybody. Someone that I met from years ago in school could be at a KQED event and remember me or recognize me. Right. Or someone that I met through a village auntie can be at another event and remember me. You know what I mean? And so I think just like, developing authentic relationships and being authentic to who I am has allowed me to earn my name and earn like the…honor behind it.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You mentioned dancing in different places and people knowing you from the different hats that you wear. Do you have a different approach when you’re dancing on big stages or community events or even on BART?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Dancing on big stages is really fun. It’s really fun because the support is for the most part, it’s overwhelming.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> It allows me to expose the culture to a larger amount of people and the way that I do it, is unique because I wasn’t here, you know, I wasn’t in the Town in 2006, 2007, 2008, right? So the way that I do it has to be genuine to who I am.\u003c/p>\n\u003cp>It feels empowering to dance on BART because I know that I can always feed myself off my craft, you know? But there’s… there’s, like, nuances, right? Like, there’s the good with the bad. Like, BART is not the cleanest place to be hustling. It’s not the cleanest place to be dancing, you know? So I don’t sit down when I’m dancing on BART. Like I don’t sit down on BART, period.\u003c/p>\n\u003cp>Most people who see dancers on BART, they rarely see girls. They rarely see girls who are raw. I don’t know, I don’t even really see girls like that and I be out there! So, like…\u003c/p>\n\u003cp>Turfing in itself is taken up from on a floor, right? And it’s like radical, it’s political. It’s not- it’s not just dance moves Like you can feel it, it pierces you, you know, And whether I’m dancing on BART, whether I’m dancing in a battle, whether I’m dancing at first Friday, whether I’m dancing at a music festival, like people can feel that.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That’s dope, Okay.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> And, in terms of that validity in developing community and reaching folks during the pandemic, BART ridership took a dive. You pivoted and started doing work online. You developed a dance club called “Pussy Power Dance” and it became popular. Why do you think folks latched onto it?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Well, I created Pussy Power out of a deficit of platform, right. Each month I would host a IG live session and it would last for about an hour and I would invite girls to come and perform on Pussy Power and, um, they would take 3 to 5 minutes to dance and they would just showcase. And I made it a showcase on purpose so that it was more open to all level styles, backgrounds, like I didn’t want it to feel like a competition or like a battle or like you’re going against all these girls in the live, right?\u003c/p>\n\u003cp>And I think that people latched on to it because they probably felt the same way and also because they saw how unifying it was from like, the barriers of time, space, language, level of dance, and any other constraints that could keep us away from each other, they- those obstacles didn’t limit us when we were on pussy power. So like, every episode was so inspiring, and all the girls were like, ‘oh my goodness!’ It was just so cool.\u003c/p>\n\u003cp>To me, giving back is a part of why I do everything that I do. Like I want everyone to walk away with something, even if it’s inspiration or hopefully it’s tangible. And so through Pussy Power, even though there was all these dimensions that kept us apart, I still was able to give back in tangible ways and that made it more popular.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> It’s something, you seem like you’ve etched out a career path. Now you’re working in education as well, teaching young folks dance in West Oakland. Tell me more about your day job.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> My day job is teaching dance at an elementary school in West Oakland. And I teach from preschool up until fourth grade. Basically, there’s two classes of each grade and each class like, circulates through my class,\u003c/p>\n\u003cp>In my class we do, like it’s not elite dancing at all, you know, it’s not like it’s not “traditional” what traditional dance classes would look like, where like they’re learning a choreography and then they’re doing the choreography, right?\u003c/p>\n\u003cp>It’s more of like embracing movement as a creative expression of empowerment. You know, it’s like confidence building. It’s like them embracing that dance culture is really fun.\u003c/p>\n\u003cp>What I do, like, my role is to, like, uplift them and empower them and like, show them like, even if you don’t feel like the best dancer in the world, you can still come touch the stage and show some poses. And, you know, you can walk down a Soul Train line like the queen that you are. And so that allows them to share information of movement with each other, um, back and forth and just like embrace each other, you know, really see each other.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> And then beyond that, you also do workshops with folks of all ages through the Oakland Museum of California. What’s that experience been like?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> The Oakland Museum, shout out to them. I love them so much. The workshop that I taught recently, it did have a diverse age group and I’m grateful for that because the movement and the information that I have to offer. I do want it to be accessible to everyone. And so I hosted a dance workshop on the front steps in the front patio of the Oakland Museum. And at first it was like only a few people. And like, there was some people who were feeling shy so they just wanted to watch. And then there are some people who are like, “Yeah, I’ll do it..I come fuck with y’all.” But by the end of the class it was like a good 15, 20 people and they all like, “Yeah!” You know, they’re all really excited.\u003c/p>\n\u003cp>And I like to end with uh, activities, games, you know, dance circles, things like that, because it… it’s not so like… accomplished-based. It’s actually about how you feel because it’s not just a dance move. It’s not just a dance style. It’s like a… It’s a feeling, you know what I mean? It’s like a… it’s like a radical act, it’s a radical practice. So people feel that when they’re in my classes, in my space, learning from me, they always leave with smiles. And that just makes me feel like, oh my goodness.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You’re doing the work. You’re doing the work. And it’s, I mean, the smiles and also like having income based on it, being able to make a living off of dance, that’s a sign that you’re on the right path. With that said, why do you personally think it’s important to pass down these lessons to the next generation?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Several reasons, I really in my heart, I know that if we don’t pay it forward, the culture will die, like, just period.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> You know, and so, I really, as someone who’s really passionate about it and who cares about this a lot and like who makes a living and defines my path with this turfin’ shit, like turfing is a way of life for me. And as someone who uses this practice as a way of life, it’s critical to pass it down. It’s critical to pay it forward. So that way I’m not always… the burden isn’t always on me to keep this alive. Like, you know, it’s not just on any of us. Like we have a whole ‘nother generation of people who are emerging and maybe they can do a little bit more with this practice, with this community than we were able to do. You know, maybe they can reach farther than we were able to reach, you know?\u003c/p>\n\u003cp>Like there’s a lot of people around the world who want to learn turfing, you know, and we have it. It’s not like we’re not capable. There’s just some disconnects that I want to, like, connect so that not only I can get paid boucou money to travel the world, to teach and learn turfing. But my peers and my… my youngins can also do the same and see tangible opportunity from this, you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Everybody eats, B.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Everybody eats. Everybody walks away with something.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> I want to give a huge shoutout to Telice Summerfield. You’ve found your path, and you’ve simultaneously carried the culture with you! Thank you. Thank you for taking it even further!\u003c/p>\n\u003cp>You all can follow her on Instagram at tuuhleacee spelled T-U-U-H-L-E-A-C-E-E. And that’s the best way to stay updated on Telice’s upcoming performances, classes and more.\u003c/p>\n\u003cp>This episode was hosted by me, Pendarvis Harshaw.\u003c/p>\n\u003cp>It was produced by Marisol Medina-Cadena and Sheree Bishop.\u003c/p>\n\u003cp>Chris Hambrick is our editor.\u003c/p>\n\u003cp>Christopher Beale is our engineer.\u003c/p>\n\u003cp>Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/p>\n\u003cp>If you liked this episode, please share it with a friend, or write a review on your favorite podcast platform. It helps more people find us. Thanks y’all.\u003c/p>\n\u003cp>Rightnowish is a KQED Production.\u003c/p>\n\u003cp>Peace.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"slug": "munis-operator-of-the-year-battles-cancer-traverses-the-city-like-a-superhero",
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"content": "\u003cp>What do San Francisco Mayor London Breed, SFMTA Director of Transportation Jeffrey Tumlin and former Boston Red Sox relief pitcher Jonathan Papelbon have in common?\u003c/p>\n\u003cp>They all have a commemorative baseball card signed by the same Muni employee: \u003ca href=\"https://twitter.com/misterboston617\">Mike Delia\u003c/a>.\u003c/p>\n\u003cp>Delia made the limited-edition cards himself. But the collector’s items — which feature Delia wearing a fully retro-fitted Muni uniform, including an 8-point cap from the 1950s, while posing inside some of San Francisco’s most historic trains — are just one of the operator’s high-motor quirks.[aside label=\"Related Stories\" postID=\"arts_13902470,arts_13860143\"]\u003c/p>\n\u003cp>After moving cross country in 2014 to pursue a career with Muni, Delia has steered a variety of the city’s most important routes, including the F Line. Unfortunately, he was diagnosed with acute myeloid leukemia in October 2021, forcing him to take medical leave for over a year. It’s the second time Delia has battled cancer, which he previously overcame in 2019.\u003c/p>\n\u003cp>Since then, Delia has been in and out of remission, undergoing a chemotherapy regimen — it consists of a series of shots for weeklong periods and a daily set of prescriptions that must be closely monitored by his doctors. After a bone marrow transplant that saved his life last spring, he has a renewed sense of gratitude. Throughout it all, Delia miraculously hasn’t shied away from what he enjoys most: the movement of this city and its people.\u003c/p>\n\u003cfigure id=\"attachment_13924310\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924310\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/20230125_221955-800x294.jpg\" alt=\"two rows of Mike Delia's custom made Muni baseball cards\" width=\"800\" height=\"294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-800x294.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-1020x375.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-160x59.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-768x282.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-1536x565.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-2048x753.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-1920x706.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delia’s custom made Muni baseball cards. \u003ccite>(Mike Delia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The short of it is this: I love what I do,” says Delia, who speaks with an unmistakably Bostonian accent. “I always had a passion for public service. Maybe this is just my gift. At several points I considered giving up, but my wife, family, friends and colleagues encouraged me to fight. I look for those warning signs in others going through similar cancers and try to help them through opportunities that allow me to tell my story. I am thankful to be alive and try to inspire others.”\u003c/p>\n\u003cp>Originally from Massachusetts — where his 69-year-old father still serves as a “semi-retired” transit employee — Delia, or Mr. Boston, as riders and colleagues know him as, has become a staple in San Francisco’s transportation community. In 2022, he earned SFMTA’s Operator of the Year Award for his eight years of service, despite being out of commission from his day-to-day duties.\u003c/p>\n\u003cp>This week, he rejoined Muni, leaving the operational side to work as a member of the Chief of Staff’s Office, which will include collecting and sharing stories about Muni internally with employees. I shadowed Delia on a cloudy Thursday as he took me for a spin around The City, beginning in the Castro District.\u003c/p>\n\u003ch2>A ride to remember\u003c/h2>\n\u003cp>After a round of routine blood transfusions at UCSF Hospital, Delia meets me for his usual afternoon brew at Castro Coffee Company. We then hop across the street to Rossi’s Deli for lunch. One employee, a Central American immigrant, immediately comes from behind the counter to give him a hug, and after preparing his sandwich order, insists on Delia’s return.\u003c/p>\n\u003cfigure id=\"attachment_13924313\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13924313 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_1604-800x533.jpg\" alt=\"A Muni worker holds up a sandwich inside a deli in the Castro District\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delia is a beloved customer at Rossi’s Deli near SFMTA’s Castro Station. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He has a beautiful spirit and is always friendly,” Rina Flores, a Salvadoran worker at the deli, tells me in Spanish. “He’s always in a good mood when he stops by. He survived cancer and he’s inspiring to us.”\u003c/p>\n\u003cp>Delia isn’t the only SFMTA employee to frequent these haunts. With a major station around the corner, it’s a regular stop-off for the city’s transit employees during their breaks. But it’s clear that Delia’s connection is deep — and genuine.\u003c/p>\n\u003cp>We then make our trek underground to say hello to a few of his former colleagues — who each react with the same level of adoration as the deli workers, calling Delia their “ambassador” — before Delia takes me back up for his favorite train ride: the historic F Line down Market Street.\u003c/p>\n\u003cp>By chance, we’re picked up by none other than “the Harvey Milk Streetcar,” which Delia tells me was \u003ca href=\"https://www.sfmta.com/blog/we-welcome-harvey-milk-streetcar-back-service\">reinstated into service in 2017\u003c/a>. It honors Castro’s very own Harvey Milk, who advocated for public transit during his time as the first openly gay politician in California.\u003c/p>\n\u003cp>The green car is painted in the color and design scheme from the days when Milk himself rode Muni from Castro to City Hall. When Muni introduced their monthly “Fast Pass” in 1978, Milk helped to promote it, along with Curtis Green, the \u003ca href=\"https://www.sfgate.com/bayarea/article/Curtis-E-Green-rose-from-bus-driver-to-head-2816575.php\">first Black transit manager\u003c/a> in the nation. (Green began his career as a Muni bus operator after serving in World War II and became one of the first “Muni Man of the Month” recipients in the 1950s).\u003c/p>\n\u003cfigure id=\"attachment_13924311\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13924311 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HarveyMilk-800x606.jpg\" alt=\"Curtis Greene and Harvey Milk introduce the MUNI “Fast Pass” in 1978. (SFMTA’s online archive)\" width=\"800\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HarveyMilk-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HarveyMilk-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HarveyMilk-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HarveyMilk-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HarveyMilk.jpg 1432w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curtis Green and Harvey Milk introduce the MUNI “Fast Pass” in 1978. \u003ccite>(SFMTA public archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It turns out you can learn a lot about a city by simply tracing its transit history. According to Delia, San Francisco is one of the few cities remaining in the country that continues to use a historic trolley system, providing a literal preservation of memories that are often dismissed in the internet age.\u003c/p>\n\u003cp>But the city’s interchanging host of archaic street cars — which have been accumulated over decades from other cities, after their railways were dismantled or downsized — are still in service to remind us of our region’s eccentric past. The trolleys are as well-traveled as the many immigrants who ride them, with \u003ca href=\"https://www.streetcar.org/streetcars/1072-1072-mexico-city/\">vehicles from various time periods\u003c/a> spanning origins from Mexico City, Philadelphia and Milan.\u003c/p>\n\u003cp>The modern streetcar in San Francisco \u003ca href=\"https://www.sfmta.com/getting-around/muni/historic-streetcars\">dates back to 1962\u003c/a>, when a $792 million bond for BART’s construction ultimately led to the “beautification” of roads like Market Street and the increase of above-ground trolleys, particularly in the Financial District.\u003c/p>\n\u003cp>They’ve since become a symbol of San Francisco’s forward-motion spirit. Inaugurated by then-Mayor Dianne Feinstein in 1983, \u003ca href=\"https://www.sfmta.com/blog/looking-back-roots-muni-heritage-day\">Muni Heritage Day\u003c/a> (formerly “Historic Trolley Festival”) is an example of how the city has embraced the charm of its street cars. But it hasn’t always been smooth riding. At one point, Muni didn’t want to expand their trolley service. It wasn’t until the mid-90s that the F Line — which Delia says serves mostly workers and business people — was built. Nowadays, the F Line has become an enjoyable way for visitors from around the globe to see a side of San Francisco, making it one of SF’s most iconic transit routes.\u003c/p>\n\u003cfigure id=\"attachment_13924312\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Feinstein-800x532.png\" alt=\"Mayor Dianne Feinstein inaugurates the first Muni Heritage Day, 1983\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Feinstein-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Feinstein-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Feinstein-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Feinstein-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Feinstein.png 1441w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Dianne Feinstein inaugurates the first Muni Heritage Day, 1983. \u003ccite>(SFMTA public archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I came here initially as an outsider, a visitor, a tourist,” Delia says. “Muni gave me a good cross section of this city — the Wharf, Bayview, Marina, Castro. I’ve been all over. I worked here all these years. I feel connected. I especially cherish the F Line, its workers, the visitors, tourists. You don’t even have to pay any special fee to ride it like you do with the [Powell St.] cable cars.”\u003c/p>\n\u003ch2>For the love of Muni\u003c/h2>\n\u003cp>Despite the wilder things Delia has seen or encountered as a Muni operator — including a belligerent passenger who violently swiped an entire stack of transfer tickets from him before jetting away — Mr. Boston mostly has a positive impression of San Francisco’s riders.\u003c/p>\n\u003cp>There was the time he picked up a bride on Valentine’s Day and took her and her bridesmaids to City Hall, becoming an unofficial member of their wedding. Another time, he picked up a mom and her kids, one of whom was part of New Jersey’s Make-A-Wish Foundation and requested to ride a street car in San Francisco — so Delia invited the child to ring the bell and open doors for oncoming passengers. Delia has also collaborated with artists like the \u003ca href=\"https://www.sfmoma.org/exhibition/jr/\">French photographer JR\u003c/a> on projects about the city and its people. Through it all, working with Muni has been “eye-opening” for Delia as a transplant.\u003c/p>\n\u003cp>A typical day for him as an operator might include a handful of trips around the city, often hitting the 10-hour mark, with a two-hour break in between. Though transit workers aren’t often held in the same noble light as educators or firefighters, folks who rely on drivers will tell you they’re a glue for any metro region, maintaining the essential needs for daily transportation and road safety. It’s a role Delia describes as being “representative” of and “respectful” towards one’s city.\u003c/p>\n\u003cp>On this particular excursion, we rumble towards the Wharf, hopping off at the \u003ca href=\"https://www.streetcar.org/museum/\">San Francisco Railway Museum\u003c/a>, where Mission Street tapers off into Embarcadero. Though the trolley continues down the pier with its mix of riders, we take a detour into the museum.\u003c/p>\n\u003cfigure id=\"attachment_13924309\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_1813-800x533.jpg\" alt=\"A collection of vintage Muni patches and pins at the SF Railway Museum\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of vintage Muni patches and pins at the SF Railway Museum. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alison Cant, a founder and director of the museum, describes its unique relationship with Muni: “We are detached from Muni so we have no obligations to them, but we see ourselves as advocates and guardians of the F Line and we feel strongly about it,” she says, noting that museum staff serve on an advisory board that consults with Muni on how to accurate preserve the system’s history.\u003c/p>\n\u003cp>The museum, which was founded in 1995, highlights moments like \u003ca href=\"https://www.wnyc.org/story/maya-angelou-was-san-franciscos-first-black-streetcar-driver/\">Maya Angelou becoming San Francisco’s first Black woman Muni conductor\u003c/a> in 1944, and displays artifacts like advertisements for the 45th Annual Cable Car Bell Ringing Contest. Studying these displays, it’s evident how the many colorful and sometimes forgotten influences of San Francisco all converge through Muni’s history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_sHk2bveJZ4\u003c/p>\n\u003cp>It’s no wonder that Muni has served as inspiration for so many creative Bay Area residents, like Optimist Williams (a graffiti artist whose 2021 exhibit “\u003ca href=\"https://48hills.org/2021/10/with-ticket-to-ride-optimist-williams-channeled-muni-memories-and-frisco-legends/\">Ticket to Ride\u003c/a>” honored famous locals by printing their names and birthdates on oversized Muni transfer tickets); Kurt Schwartzman (whose illustration project “\u003ca href=\"http://www.yellowlineart.com/\">Yellow Line Art\u003c/a>” features portraits of Muni’s sights and workers); and the folks at \u003ca href=\"https://www.munidiaries.com/\">Muni Diaries\u003c/a> (a live event series and podcast that chronicles tales from Muni riders and employees alike).\u003c/p>\n\u003cp>There’s also the rap song “\u003ca href=\"https://www.munidiaries.com/2012/02/27/muni-rap-im-on-the-bus/\">I’m on the Bus!\u003c/a>” by local emcee Satellite High, and a rap album, \u003cem>\u003ca href=\"https://archives.sfweekly.com/shookdown/2011/11/10/take-a-ride-on-muni-with-sf-rapper-richie-cunning-in-the-station\">Night Train\u003c/a>\u003c/em>, with SF lyricist Richie Cunning, which pay homage to Frisco’s many modes of public transit. And who can forget that \u003ca href=\"https://www.kqed.org/arts/13902470/shang-chi-bus-fight-chase-muni-chinatown-san-francisco\">epic battle scene on Muni \u003c/a>from Marvel’s Shang-Chi, as poetic homage?\u003c/p>\n\u003cp>It’s all a part of what Delia loves — and a part of what keeps him in his role despite his battle with cancer.\u003c/p>\n\u003cfigure id=\"attachment_13924315\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_1862-800x1200.jpg\" alt=\"A jacket with custom public transit patches\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The custom Muni jacket that Delia’s colleagues gifted him during his medical leave. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you’re faced with a long-term illness and you work for the city, you have options to consider a re-assignment,” he says. “If you meet certain parameters, you can maintain your employment. I’m a direct result of that, and I feel fortunate. I can still be a part of Muni and they can accommodate my illness.”\u003c/p>\n\u003cp>Before our multi-hour trip ends, Delia and I take the faster, more modernized Muni subway back to Castro. Mr. Boston shows me his array of patches on a jacket that his colleagues got for him as a gift. I finally ask him how he first felt when he found out about his cancer, and what drove him to return to the public demands of Muni.\u003c/p>\n\u003cp>“I was so distraught when I first got sick,” he admits. “Depression, anxiety. Was I going to survive? But then I started thinking, if you can meet someone with a similar problem and help them through that, that’s rewarding. Through the course of this, I’ve met so many people and shared my story. I won’t have that same face-to-face with riders anymore, but I’ll have a connection with the public. And I think that’s what’s most important. I’m on the road to recovery.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>The San Francisco Railway Museum is planning a celebration for the 150th anniversary of \u003ca href=\"https://www.sfmta.com/getting-around/muni/cable-cars/cable-car-history\">Andrew Halladie’s first cable car\u003c/a>. And this fall, Muni’s annual Heritage Weekend will see a special vintage fleet of buses and streetcars operating near the Ferry Building. Both events are free. Visit \u003ca href=\"https://www.streetcar.org/\">www.streetcar.org\u003c/a> for updates and information.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Mike Delia, an amateur transit historian and lifelong Muni enthusiast, returned to work this week — and let us ride along.",
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"title": "Muni’s Operator of the Year Battles Cancer, Traverses the City Like a Superhero | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do San Francisco Mayor London Breed, SFMTA Director of Transportation Jeffrey Tumlin and former Boston Red Sox relief pitcher Jonathan Papelbon have in common?\u003c/p>\n\u003cp>They all have a commemorative baseball card signed by the same Muni employee: \u003ca href=\"https://twitter.com/misterboston617\">Mike Delia\u003c/a>.\u003c/p>\n\u003cp>Delia made the limited-edition cards himself. But the collector’s items — which feature Delia wearing a fully retro-fitted Muni uniform, including an 8-point cap from the 1950s, while posing inside some of San Francisco’s most historic trains — are just one of the operator’s high-motor quirks.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After moving cross country in 2014 to pursue a career with Muni, Delia has steered a variety of the city’s most important routes, including the F Line. Unfortunately, he was diagnosed with acute myeloid leukemia in October 2021, forcing him to take medical leave for over a year. It’s the second time Delia has battled cancer, which he previously overcame in 2019.\u003c/p>\n\u003cp>Since then, Delia has been in and out of remission, undergoing a chemotherapy regimen — it consists of a series of shots for weeklong periods and a daily set of prescriptions that must be closely monitored by his doctors. After a bone marrow transplant that saved his life last spring, he has a renewed sense of gratitude. Throughout it all, Delia miraculously hasn’t shied away from what he enjoys most: the movement of this city and its people.\u003c/p>\n\u003cfigure id=\"attachment_13924310\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924310\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/20230125_221955-800x294.jpg\" alt=\"two rows of Mike Delia's custom made Muni baseball cards\" width=\"800\" height=\"294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-800x294.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-1020x375.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-160x59.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-768x282.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-1536x565.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-2048x753.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230125_221955-1920x706.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delia’s custom made Muni baseball cards. \u003ccite>(Mike Delia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The short of it is this: I love what I do,” says Delia, who speaks with an unmistakably Bostonian accent. “I always had a passion for public service. Maybe this is just my gift. At several points I considered giving up, but my wife, family, friends and colleagues encouraged me to fight. I look for those warning signs in others going through similar cancers and try to help them through opportunities that allow me to tell my story. I am thankful to be alive and try to inspire others.”\u003c/p>\n\u003cp>Originally from Massachusetts — where his 69-year-old father still serves as a “semi-retired” transit employee — Delia, or Mr. Boston, as riders and colleagues know him as, has become a staple in San Francisco’s transportation community. In 2022, he earned SFMTA’s Operator of the Year Award for his eight years of service, despite being out of commission from his day-to-day duties.\u003c/p>\n\u003cp>This week, he rejoined Muni, leaving the operational side to work as a member of the Chief of Staff’s Office, which will include collecting and sharing stories about Muni internally with employees. I shadowed Delia on a cloudy Thursday as he took me for a spin around The City, beginning in the Castro District.\u003c/p>\n\u003ch2>A ride to remember\u003c/h2>\n\u003cp>After a round of routine blood transfusions at UCSF Hospital, Delia meets me for his usual afternoon brew at Castro Coffee Company. We then hop across the street to Rossi’s Deli for lunch. One employee, a Central American immigrant, immediately comes from behind the counter to give him a hug, and after preparing his sandwich order, insists on Delia’s return.\u003c/p>\n\u003cfigure id=\"attachment_13924313\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13924313 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_1604-800x533.jpg\" alt=\"A Muni worker holds up a sandwich inside a deli in the Castro District\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1604-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delia is a beloved customer at Rossi’s Deli near SFMTA’s Castro Station. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He has a beautiful spirit and is always friendly,” Rina Flores, a Salvadoran worker at the deli, tells me in Spanish. “He’s always in a good mood when he stops by. He survived cancer and he’s inspiring to us.”\u003c/p>\n\u003cp>Delia isn’t the only SFMTA employee to frequent these haunts. With a major station around the corner, it’s a regular stop-off for the city’s transit employees during their breaks. But it’s clear that Delia’s connection is deep — and genuine.\u003c/p>\n\u003cp>We then make our trek underground to say hello to a few of his former colleagues — who each react with the same level of adoration as the deli workers, calling Delia their “ambassador” — before Delia takes me back up for his favorite train ride: the historic F Line down Market Street.\u003c/p>\n\u003cp>By chance, we’re picked up by none other than “the Harvey Milk Streetcar,” which Delia tells me was \u003ca href=\"https://www.sfmta.com/blog/we-welcome-harvey-milk-streetcar-back-service\">reinstated into service in 2017\u003c/a>. It honors Castro’s very own Harvey Milk, who advocated for public transit during his time as the first openly gay politician in California.\u003c/p>\n\u003cp>The green car is painted in the color and design scheme from the days when Milk himself rode Muni from Castro to City Hall. When Muni introduced their monthly “Fast Pass” in 1978, Milk helped to promote it, along with Curtis Green, the \u003ca href=\"https://www.sfgate.com/bayarea/article/Curtis-E-Green-rose-from-bus-driver-to-head-2816575.php\">first Black transit manager\u003c/a> in the nation. (Green began his career as a Muni bus operator after serving in World War II and became one of the first “Muni Man of the Month” recipients in the 1950s).\u003c/p>\n\u003cfigure id=\"attachment_13924311\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13924311 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HarveyMilk-800x606.jpg\" alt=\"Curtis Greene and Harvey Milk introduce the MUNI “Fast Pass” in 1978. (SFMTA’s online archive)\" width=\"800\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HarveyMilk-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HarveyMilk-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HarveyMilk-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HarveyMilk-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HarveyMilk.jpg 1432w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curtis Green and Harvey Milk introduce the MUNI “Fast Pass” in 1978. \u003ccite>(SFMTA public archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It turns out you can learn a lot about a city by simply tracing its transit history. According to Delia, San Francisco is one of the few cities remaining in the country that continues to use a historic trolley system, providing a literal preservation of memories that are often dismissed in the internet age.\u003c/p>\n\u003cp>But the city’s interchanging host of archaic street cars — which have been accumulated over decades from other cities, after their railways were dismantled or downsized — are still in service to remind us of our region’s eccentric past. The trolleys are as well-traveled as the many immigrants who ride them, with \u003ca href=\"https://www.streetcar.org/streetcars/1072-1072-mexico-city/\">vehicles from various time periods\u003c/a> spanning origins from Mexico City, Philadelphia and Milan.\u003c/p>\n\u003cp>The modern streetcar in San Francisco \u003ca href=\"https://www.sfmta.com/getting-around/muni/historic-streetcars\">dates back to 1962\u003c/a>, when a $792 million bond for BART’s construction ultimately led to the “beautification” of roads like Market Street and the increase of above-ground trolleys, particularly in the Financial District.\u003c/p>\n\u003cp>They’ve since become a symbol of San Francisco’s forward-motion spirit. Inaugurated by then-Mayor Dianne Feinstein in 1983, \u003ca href=\"https://www.sfmta.com/blog/looking-back-roots-muni-heritage-day\">Muni Heritage Day\u003c/a> (formerly “Historic Trolley Festival”) is an example of how the city has embraced the charm of its street cars. But it hasn’t always been smooth riding. At one point, Muni didn’t want to expand their trolley service. It wasn’t until the mid-90s that the F Line — which Delia says serves mostly workers and business people — was built. Nowadays, the F Line has become an enjoyable way for visitors from around the globe to see a side of San Francisco, making it one of SF’s most iconic transit routes.\u003c/p>\n\u003cfigure id=\"attachment_13924312\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Feinstein-800x532.png\" alt=\"Mayor Dianne Feinstein inaugurates the first Muni Heritage Day, 1983\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Feinstein-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Feinstein-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Feinstein-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Feinstein-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Feinstein.png 1441w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Dianne Feinstein inaugurates the first Muni Heritage Day, 1983. \u003ccite>(SFMTA public archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I came here initially as an outsider, a visitor, a tourist,” Delia says. “Muni gave me a good cross section of this city — the Wharf, Bayview, Marina, Castro. I’ve been all over. I worked here all these years. I feel connected. I especially cherish the F Line, its workers, the visitors, tourists. You don’t even have to pay any special fee to ride it like you do with the [Powell St.] cable cars.”\u003c/p>\n\u003ch2>For the love of Muni\u003c/h2>\n\u003cp>Despite the wilder things Delia has seen or encountered as a Muni operator — including a belligerent passenger who violently swiped an entire stack of transfer tickets from him before jetting away — Mr. Boston mostly has a positive impression of San Francisco’s riders.\u003c/p>\n\u003cp>There was the time he picked up a bride on Valentine’s Day and took her and her bridesmaids to City Hall, becoming an unofficial member of their wedding. Another time, he picked up a mom and her kids, one of whom was part of New Jersey’s Make-A-Wish Foundation and requested to ride a street car in San Francisco — so Delia invited the child to ring the bell and open doors for oncoming passengers. Delia has also collaborated with artists like the \u003ca href=\"https://www.sfmoma.org/exhibition/jr/\">French photographer JR\u003c/a> on projects about the city and its people. Through it all, working with Muni has been “eye-opening” for Delia as a transplant.\u003c/p>\n\u003cp>A typical day for him as an operator might include a handful of trips around the city, often hitting the 10-hour mark, with a two-hour break in between. Though transit workers aren’t often held in the same noble light as educators or firefighters, folks who rely on drivers will tell you they’re a glue for any metro region, maintaining the essential needs for daily transportation and road safety. It’s a role Delia describes as being “representative” of and “respectful” towards one’s city.\u003c/p>\n\u003cp>On this particular excursion, we rumble towards the Wharf, hopping off at the \u003ca href=\"https://www.streetcar.org/museum/\">San Francisco Railway Museum\u003c/a>, where Mission Street tapers off into Embarcadero. Though the trolley continues down the pier with its mix of riders, we take a detour into the museum.\u003c/p>\n\u003cfigure id=\"attachment_13924309\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_1813-800x533.jpg\" alt=\"A collection of vintage Muni patches and pins at the SF Railway Museum\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1813-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of vintage Muni patches and pins at the SF Railway Museum. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alison Cant, a founder and director of the museum, describes its unique relationship with Muni: “We are detached from Muni so we have no obligations to them, but we see ourselves as advocates and guardians of the F Line and we feel strongly about it,” she says, noting that museum staff serve on an advisory board that consults with Muni on how to accurate preserve the system’s history.\u003c/p>\n\u003cp>The museum, which was founded in 1995, highlights moments like \u003ca href=\"https://www.wnyc.org/story/maya-angelou-was-san-franciscos-first-black-streetcar-driver/\">Maya Angelou becoming San Francisco’s first Black woman Muni conductor\u003c/a> in 1944, and displays artifacts like advertisements for the 45th Annual Cable Car Bell Ringing Contest. Studying these displays, it’s evident how the many colorful and sometimes forgotten influences of San Francisco all converge through Muni’s history.\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/_sHk2bveJZ4'\n title='//www.youtube.com/embed/_sHk2bveJZ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s no wonder that Muni has served as inspiration for so many creative Bay Area residents, like Optimist Williams (a graffiti artist whose 2021 exhibit “\u003ca href=\"https://48hills.org/2021/10/with-ticket-to-ride-optimist-williams-channeled-muni-memories-and-frisco-legends/\">Ticket to Ride\u003c/a>” honored famous locals by printing their names and birthdates on oversized Muni transfer tickets); Kurt Schwartzman (whose illustration project “\u003ca href=\"http://www.yellowlineart.com/\">Yellow Line Art\u003c/a>” features portraits of Muni’s sights and workers); and the folks at \u003ca href=\"https://www.munidiaries.com/\">Muni Diaries\u003c/a> (a live event series and podcast that chronicles tales from Muni riders and employees alike).\u003c/p>\n\u003cp>There’s also the rap song “\u003ca href=\"https://www.munidiaries.com/2012/02/27/muni-rap-im-on-the-bus/\">I’m on the Bus!\u003c/a>” by local emcee Satellite High, and a rap album, \u003cem>\u003ca href=\"https://archives.sfweekly.com/shookdown/2011/11/10/take-a-ride-on-muni-with-sf-rapper-richie-cunning-in-the-station\">Night Train\u003c/a>\u003c/em>, with SF lyricist Richie Cunning, which pay homage to Frisco’s many modes of public transit. And who can forget that \u003ca href=\"https://www.kqed.org/arts/13902470/shang-chi-bus-fight-chase-muni-chinatown-san-francisco\">epic battle scene on Muni \u003c/a>from Marvel’s Shang-Chi, as poetic homage?\u003c/p>\n\u003cp>It’s all a part of what Delia loves — and a part of what keeps him in his role despite his battle with cancer.\u003c/p>\n\u003cfigure id=\"attachment_13924315\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_1862-800x1200.jpg\" alt=\"A jacket with custom public transit patches\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_1862-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The custom Muni jacket that Delia’s colleagues gifted him during his medical leave. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you’re faced with a long-term illness and you work for the city, you have options to consider a re-assignment,” he says. “If you meet certain parameters, you can maintain your employment. I’m a direct result of that, and I feel fortunate. I can still be a part of Muni and they can accommodate my illness.”\u003c/p>\n\u003cp>Before our multi-hour trip ends, Delia and I take the faster, more modernized Muni subway back to Castro. Mr. Boston shows me his array of patches on a jacket that his colleagues got for him as a gift. I finally ask him how he first felt when he found out about his cancer, and what drove him to return to the public demands of Muni.\u003c/p>\n\u003cp>“I was so distraught when I first got sick,” he admits. “Depression, anxiety. Was I going to survive? But then I started thinking, if you can meet someone with a similar problem and help them through that, that’s rewarding. Through the course of this, I’ve met so many people and shared my story. I won’t have that same face-to-face with riders anymore, but I’ll have a connection with the public. And I think that’s what’s most important. I’m on the road to recovery.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>The San Francisco Railway Museum is planning a celebration for the 150th anniversary of \u003ca href=\"https://www.sfmta.com/getting-around/muni/cable-cars/cable-car-history\">Andrew Halladie’s first cable car\u003c/a>. And this fall, Muni’s annual Heritage Weekend will see a special vintage fleet of buses and streetcars operating near the Ferry Building. Both events are free. Visit \u003ca href=\"https://www.streetcar.org/\">www.streetcar.org\u003c/a> for updates and information.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "There Was a Punk Show on BART Friday Night",
"headTitle": "There Was a Punk Show on BART Friday Night | KQED",
"content": "\u003cp>If you live in the Bay Area, you’ve undoubtedly seen some unexpected entertainment on BART in your time. Dancers, magicians, those dudes that hang upside down from poles, drunk people. What you’ve probably \u003cem>never\u003c/em> seen is a car packed to the gills with punks there to see a two-band show.\u003c/p>\n\u003cp>That’s exactly what happened Friday night when noisy San Francisco outfits \u003ca href=\"https://www.instagram.com/falseflagsf/\" target=\"_blank\" rel=\"noopener noreferrer\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/surpriseprivilege/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Surprise Privilege\u003c/a> managed to organize a show on a blue line BART train. Having boarded at the 16th St. Mission station at 7pm, the bands rode to Dublin Pleasanton as more than 100 fans squeezed in along the way — and then, on the way back to the city, started playing.\u003c/p>\n\u003cp>Unbridled chaos ensued:\u003c/p>\n\u003cp>https://www.instagram.com/p/CnGrbg6D2JR/\u003c/p>\n\u003cp>Round of applause for the human mic stand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reached by phone the next day, band members said they were surprised at the turnout for what started as “kind of a half-joke” that “we all egged each other on to do,” according to False Flag’s bassist, Pretty. \u003c/p>\n\u003cp>“We weren’t expecting that many people to show up,” she added. “We didn’t even know if we were gonna be able to play because the train was so packed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BART.PunkShow.jpg\" alt=\"\" width=\"600\" height=\"712\" class=\"aligncenter size-full wp-image-13923451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow-160x190.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The show required a fair bit of pre-planning. On Instagram, the bands outlined a timetable of BART stops for attendees; directed them to the rear cars, away from commuters; and reminded everyone to pay their fare, stay civil and pick up after themselves.\u003c/p>\n\u003cp>“It’s not our intention to wreck the place or cause any kind of damage — this is meant to be fun,” they wrote. “Be respectful of each other and don’t let anyone get hurt.”\u003c/p>\n\u003cp>Things went awry six stations in, when the train was stalled at Fruitvale due to an obstructed door. “And BART police got on,” said Pretty, “and were just like, ‘Are you serious right now?’”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@loserlees/video/7185796606355279150\" data-video-id=\"7185796606355279150\">\n\u003csection>\u003ca title=\"@loserlees\" href=\"https://www.tiktok.com/@loserlees?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@loserlees\u003c/a> PUNK SHOW ON BART!¡ \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"fypシ\" href=\"https://www.tiktok.com/tag/fyp%E3%82%B7?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fypシ\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#punk\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#sanfrancisco\u003c/a> \u003ca title=\"diy\" href=\"https://www.tiktok.com/tag/diy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#DIY\u003c/a> \u003ca title=\"♬ original sound - Lees\" href=\"https://www.tiktok.com/music/original-sound-7185796625409887022?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Lees\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>As shown at the end of the above clip, the show was shut down, the cars were evacuated, and at least one reveler was escorted out of the station by authorities while crowds on the platform chanted, “Let him go! Let him go!”\u003c/p>\n\u003cp>Cody, bassist for Surprise Privilege, said the bands still managed to play six songs each, powered by a portable battery — and noted that every band member paid their BART fare.\u003c/p>\n\u003cp>[aside postid='arts_13865042']“All we want to do is raise as much money as possible for BART,” he said. “It’s all just a big publicity campaign to show the world how fine our state-of-the-art public transportation system is.”\u003c/p>\n\u003cp>BART, which \u003ca href=\"https://www.kqed.org/arts/13865042/free-speech-tone-oliver-and-barts-proposed-ban-on-busking\">rejected a 2019 proposal to ban busking on its trains\u003c/a>, did not respond to a request for comment. \u003c/p>\n\u003cp>“The main reaction from the public I’ve seen is people talking about how it must have smelled really bad on the train,” said False Flag guitarist Strong. (“Which it did,” Cody added.)\u003c/p>\n\u003cp>While it lasted, though, the on-train show looked like a damn good time, crowd surfing and all.\u003c/p>\n\u003cp>https://www.instagram.com/p/CnIRhGhSMjf/\u003c/p>\n\u003cp>For those who regret missing a historic slice of what’s known as “\u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">REAL BAY SHIT\u003c/a>,” and hope for a sequel, the bands’ Instagram post afterward summed it up: “we’re never doing that again lol.”\u003c/p>\n\u003cp>How was \u003cem>your\u003c/em> Friday night?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you live in the Bay Area, you’ve undoubtedly seen some unexpected entertainment on BART in your time. Dancers, magicians, those dudes that hang upside down from poles, drunk people. What you’ve probably \u003cem>never\u003c/em> seen is a car packed to the gills with punks there to see a two-band show.\u003c/p>\n\u003cp>That’s exactly what happened Friday night when noisy San Francisco outfits \u003ca href=\"https://www.instagram.com/falseflagsf/\" target=\"_blank\" rel=\"noopener noreferrer\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/surpriseprivilege/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Surprise Privilege\u003c/a> managed to organize a show on a blue line BART train. Having boarded at the 16th St. Mission station at 7pm, the bands rode to Dublin Pleasanton as more than 100 fans squeezed in along the way — and then, on the way back to the city, started playing.\u003c/p>\n\u003cp>Unbridled chaos ensued:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Round of applause for the human mic stand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reached by phone the next day, band members said they were surprised at the turnout for what started as “kind of a half-joke” that “we all egged each other on to do,” according to False Flag’s bassist, Pretty. \u003c/p>\n\u003cp>“We weren’t expecting that many people to show up,” she added. “We didn’t even know if we were gonna be able to play because the train was so packed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BART.PunkShow.jpg\" alt=\"\" width=\"600\" height=\"712\" class=\"aligncenter size-full wp-image-13923451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow-160x190.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The show required a fair bit of pre-planning. On Instagram, the bands outlined a timetable of BART stops for attendees; directed them to the rear cars, away from commuters; and reminded everyone to pay their fare, stay civil and pick up after themselves.\u003c/p>\n\u003cp>“It’s not our intention to wreck the place or cause any kind of damage — this is meant to be fun,” they wrote. “Be respectful of each other and don’t let anyone get hurt.”\u003c/p>\n\u003cp>Things went awry six stations in, when the train was stalled at Fruitvale due to an obstructed door. “And BART police got on,” said Pretty, “and were just like, ‘Are you serious right now?’”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@loserlees/video/7185796606355279150\" data-video-id=\"7185796606355279150\">\n\u003csection>\u003ca title=\"@loserlees\" href=\"https://www.tiktok.com/@loserlees?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@loserlees\u003c/a> PUNK SHOW ON BART!¡ \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"fypシ\" href=\"https://www.tiktok.com/tag/fyp%E3%82%B7?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fypシ\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#punk\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#sanfrancisco\u003c/a> \u003ca title=\"diy\" href=\"https://www.tiktok.com/tag/diy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#DIY\u003c/a> \u003ca title=\"♬ original sound - Lees\" href=\"https://www.tiktok.com/music/original-sound-7185796625409887022?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Lees\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As shown at the end of the above clip, the show was shut down, the cars were evacuated, and at least one reveler was escorted out of the station by authorities while crowds on the platform chanted, “Let him go! Let him go!”\u003c/p>\n\u003cp>Cody, bassist for Surprise Privilege, said the bands still managed to play six songs each, powered by a portable battery — and noted that every band member paid their BART fare.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“All we want to do is raise as much money as possible for BART,” he said. “It’s all just a big publicity campaign to show the world how fine our state-of-the-art public transportation system is.”\u003c/p>\n\u003cp>BART, which \u003ca href=\"https://www.kqed.org/arts/13865042/free-speech-tone-oliver-and-barts-proposed-ban-on-busking\">rejected a 2019 proposal to ban busking on its trains\u003c/a>, did not respond to a request for comment. \u003c/p>\n\u003cp>“The main reaction from the public I’ve seen is people talking about how it must have smelled really bad on the train,” said False Flag guitarist Strong. (“Which it did,” Cody added.)\u003c/p>\n\u003cp>While it lasted, though, the on-train show looked like a damn good time, crowd surfing and all.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those who regret missing a historic slice of what’s known as “\u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">REAL BAY SHIT\u003c/a>,” and hope for a sequel, the bands’ Instagram post afterward summed it up: “we’re never doing that again lol.”\u003c/p>\n\u003cp>How was \u003cem>your\u003c/em> Friday night?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bart-50th-anniversary-bay-area-rapid-transit-september-1972",
"title": "BART Opened 50 Years Ago This Week—And Boy Were People Excited",
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"content": "\u003cp>As we all know, the 1970s were a brutalist hellscape made of concrete, brown platform shoes, serial killers and—especially in California—LSD hangovers. It was not a cute time to be alive, even in our beloved Bay Area.\u003c/p>\n\u003cp>Making things infinitely worse in the early-’70s was the relentless construction of a new-fangled transportation system known as Bay Area Rapid Transit. Building started in 1964 and went full tilt in the run-up to BART’s opening day on Sept. 11, 1972. And that construction ran through some major thoroughfares. San Francisco’s Market Street, for example, was decimated for \u003cem>years\u003c/em>.\u003c/p>\n\u003cp>Let’s look at the traffic misery as it escalated:\u003c/p>\n\u003cfigure id=\"attachment_13918627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp32.2815-800x594.jpg\" alt=\"A series of wooden slats run the length of Market Street, surrounded by small orange cones as streetcars drive up the opposite side of the road.\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2815-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2815-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2815-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2815.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">These temporary streetcar tracks look totally safe! Market and Second, 1967. \u003ccite>(OpenSFHistory / wnp32.2815)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp32.2789-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2789-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2789-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2789-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2789.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Market Street, near First Street, in 1969. \u003ccite>(OpenSFHistory / wnp32.2789)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp25.6817-800x534.jpg\" alt=\"A street car runs up Market St on top of a temporary wooden roadway. Construction is visible on one half of the street.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp25.6817-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp25.6817-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp25.6817-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp25.6817.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Market and Hyde, 1970. \u003ccite>(OpenSFHistory / wnp25.6817)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp32.2785-800x541.jpg\" alt=\"A downtown intersection including five buses, two cranes and a van, all stationary as construction goes on on all sides.\" width=\"800\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2785-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2785-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2785-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2785.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Market and Battery, doing a chaos in 1970. \u003ccite>(OpenSFHistory / wnp32.2785)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918629\" class=\"wp-caption aligncenter\" style=\"max-width: 674px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918629\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp32.2836.jpg\" alt=\"A major intersection is entirely closed as construction takes place.\" width=\"674\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2836.jpg 674w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2836-160x237.jpg 160w\" sizes=\"(max-width: 674px) 100vw, 674px\">\u003cfigcaption class=\"wp-caption-text\">Market and Fremont in February 1972. \u003ccite>(OpenSFHistory / wnp32.2836)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In San Francisco, BART didn’t even start running until 1973, the Transbay Tube between downtown and West Oakland wasn’t ready until ’74, and Embarcadero Station only arrived in ’76. But after so much buildup and chaos, the Bay Area was \u003cem>psyched\u003c/em> to see the first sections of BART open in ’72—even though that only included 12 East Bay stations between MacArthur and Fremont.\u003c/p>\n\u003cp>Despite the fact that they could hop on a train the next day, next week, or, who knows, 50 years down the line, approximately 15,000 people showed up to ride on BART’s first day. They waited for hours on crowded platforms, as trains struggled to keep up with the passenger loads—an issue exacerbated by revelers refusing to get off the trains for hours. The \u003cem>Examiner\u003c/em> reported that the very patient humans stuck at stations handled it “with good grace and a sense of history.” Many were apparently wearing pins that read: “Day One. I was there. Sept. 11.” (If you happen to stumble across one of these while thrifting, remember it’s about BART and not, well, you know, the other thing.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the trains, according to a \u003cem>Concord Transcript\u003c/em> report the following day, “Passengers crowded aboard, and seats on many trains were full with people in the aisles, packed like sardines, three abreast in a 70 mile-per-hour aluminum can.” (So like every pre-pandemic rush-hour then…)\u003c/p>\n\u003cp>[aside postid='arts_13909983']After one intrepid reporter tried out the trains, the \u003cem>Peninsular Times Tribune\u003c/em> noted: “Compared to the subway systems in New York and Philadelphia, BART offers a very smooth quiet ride at high speeds.” (Tell that to the KQED listener who wrote to \u003cem>Bay Curious\u003c/em> in 2016 to ask why the trains “\u003ca href=\"https://www.kqed.org/news/11030282/why-are-bart-trains-so-loud\" target=\"_blank\" rel=\"noopener noreferrer\">scream like banshees\u003c/a>.”)\u003c/p>\n\u003cp>The reason everyone was so excited about the smoothness and comfort levels of BART at the time was because it was more modern than literally every other transport system in the country. So much so that \u003cem>U.S. News & World Report\u003c/em> magazine called it “a marvel of technology.” Everything about the heavily computerized BART system was indeed state of the art—as evidenced by this photo of a train controller in 1972.\u003c/p>\n\u003cfigure id=\"attachment_13918650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-1172830317-800x552.jpg\" alt=\"A Black man in 1970s attire sits at a control desk with several keyboards, a phone receiver, a screen and a microphone.\" width=\"800\" height=\"552\">\u003cfigcaption class=\"wp-caption-text\">Train Controller Carroll Shepard at the console of then-BART headquarters, Lake Merritt Station, two weeks before opening day. \u003ccite>(MediaNews Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think we can all agree that that gorgeous console in front of Mr. Shepard would be perfectly at home in sci-fi classics like \u003cem>Battlestar Galactica\u003c/em> (\u003ca href=\"https://www.imdb.com/title/tt0076984/?ref_=nv_sr_srsg_3\" target=\"_blank\" rel=\"noopener noreferrer\">the original series\u003c/a>), \u003cem>Westworld\u003c/em> (\u003ca href=\"https://www.kqed.org/pop/107664/missing-hbos-westworld-watch-the-amazing-1973-original\" target=\"_blank\" rel=\"noopener noreferrer\">the original movie\u003c/a>) or \u003cem>THX 1138\u003c/em> (\u003ca href=\"https://www.imdb.com/title/tt0066434/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">George Lucas’ first feature film\u003c/a>). What’s that? You’ve never heard of \u003cem>THX 1138\u003c/em>? Well, it stars Robert Duvall with a shaved head, it’s about humans being denied sex lives, and it actually \u003cem>did\u003c/em> use the real-life, under-construction BART control room and tunnels as sets.\u003c/p>\n\u003cp>Let’s marvel now at how futuristic BART—and the Broadway Street tunnel!—looks once there’s a bunch of motorcycle-riding robots involved:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J5nmxHjPuvY\u003c/p>\n\u003cp>On Sept. 11 itself, the \u003cem>San Francisco Examiner\u003c/em> interviewed several transportation enthusiasts who were in attendance for opening day. These included a 25-year-old San Franciscan named George Mitchell, who had set a record in 1966 for riding every train and stopping at every station in every borough of New York City. Which took him 24 hours and 44 minutes and sounds like a wretched ordeal no human should ever suffer. “I plan to do the same with BART when it’s completed,” he said, like a maniac.\u003c/p>\n\u003cp>[aside postid='arts_13913489']Then there was a 63-year-old Albany resident named Bonida Cargile who, for some reason, had spent her life trying to be on the first and last modes of transport as they were introduced or canceled. “In the 1930s,” the \u003cem>Examiner\u003c/em> noted, “she and her husband rode the last F Line Key System train … The same day, she took the first Red Train from San Leandro.”\u003c/p>\n\u003cp>It’s possible that Mitchell and Cargile had a little too much time on their hands, but to each their own! There were plenty of regular, \u003cem>not\u003c/em> train-obsessed people in attendance as well. Like Theresa Edwards and her daughter Mekela, seen below, who were the first paying customers at 12th Street Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13918652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-1172830320-800x641.jpg\" alt=\"A Black woman carrying a toddler makes her way through BART barriers, ticket in hand, as crowds watch on.\" width=\"800\" height=\"641\">\u003cfigcaption class=\"wp-caption-text\">Sept. 11, 1972. BART opened. Solid fashion choices were made. \u003ccite>(MediaNews Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003cem>Examiner\u003c/em> also encountered a young couple on a train who were full of the early-1970s Bay Area spirit (i.e. drugs). The paper reported:\u003c/p>\n\u003cblockquote>\u003cp>All segments of society were numbered among BART’s opening day riders, and one of these was a pretty little redhead, snuggled in the denimed crook of her boyfriend’s arm, who was especially admiring of the differing station decors. ‘If you get too stoned to read the station signs,’ said she, as the train whisked from the red-brick Oakland Civic Center station to the blue-brick 19th Street Oakland station, ‘all you have to do is remember what color to look for!’\u003c/p>\u003c/blockquote>\n\u003cp>That’s the spirit!\u003c/p>\n\u003cp>Here’s what Theresa and Mekela and the stoned couple’s train might have looked like on that very first day.\u003c/p>\n\u003cfigure id=\"attachment_13918653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-515107660-1-800x618.jpg\" alt=\"A train travels on elevated tracks, with the sparse Oakland skyline in the distance.\" width=\"800\" height=\"618\">\u003cfigcaption class=\"wp-caption-text\">BART on September 11,1972. Hi, Tribune building!\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The \u003cem>Examiner\u003c/em> later claimed that 92% of travelers on BART’s opening day thought it was “wonderful.” The paper also noted: “Another 5 percent put it this way: ‘It’s swell!’ While the remaining 3 percent said, ‘It’s tops!’” It’s an approval rating BART has spent the last half century trying its damnedest to match.\u003c/p>\n\n",
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"socialTitle": "BART Turns 50: Look Back at the Brouhaha of Opening Day %%page%% %%sep%% KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we all know, the 1970s were a brutalist hellscape made of concrete, brown platform shoes, serial killers and—especially in California—LSD hangovers. It was not a cute time to be alive, even in our beloved Bay Area.\u003c/p>\n\u003cp>Making things infinitely worse in the early-’70s was the relentless construction of a new-fangled transportation system known as Bay Area Rapid Transit. Building started in 1964 and went full tilt in the run-up to BART’s opening day on Sept. 11, 1972. And that construction ran through some major thoroughfares. San Francisco’s Market Street, for example, was decimated for \u003cem>years\u003c/em>.\u003c/p>\n\u003cp>Let’s look at the traffic misery as it escalated:\u003c/p>\n\u003cfigure id=\"attachment_13918627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp32.2815-800x594.jpg\" alt=\"A series of wooden slats run the length of Market Street, surrounded by small orange cones as streetcars drive up the opposite side of the road.\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2815-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2815-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2815-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2815.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">These temporary streetcar tracks look totally safe! Market and Second, 1967. \u003ccite>(OpenSFHistory / wnp32.2815)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp32.2789-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2789-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2789-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2789-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2789.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Market Street, near First Street, in 1969. \u003ccite>(OpenSFHistory / wnp32.2789)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp25.6817-800x534.jpg\" alt=\"A street car runs up Market St on top of a temporary wooden roadway. Construction is visible on one half of the street.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp25.6817-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp25.6817-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp25.6817-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp25.6817.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Market and Hyde, 1970. \u003ccite>(OpenSFHistory / wnp25.6817)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp32.2785-800x541.jpg\" alt=\"A downtown intersection including five buses, two cranes and a van, all stationary as construction goes on on all sides.\" width=\"800\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2785-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2785-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2785-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2785.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Market and Battery, doing a chaos in 1970. \u003ccite>(OpenSFHistory / wnp32.2785)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918629\" class=\"wp-caption aligncenter\" style=\"max-width: 674px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918629\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/opensfhistory_wnp32.2836.jpg\" alt=\"A major intersection is entirely closed as construction takes place.\" width=\"674\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2836.jpg 674w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/opensfhistory_wnp32.2836-160x237.jpg 160w\" sizes=\"(max-width: 674px) 100vw, 674px\">\u003cfigcaption class=\"wp-caption-text\">Market and Fremont in February 1972. \u003ccite>(OpenSFHistory / wnp32.2836)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In San Francisco, BART didn’t even start running until 1973, the Transbay Tube between downtown and West Oakland wasn’t ready until ’74, and Embarcadero Station only arrived in ’76. But after so much buildup and chaos, the Bay Area was \u003cem>psyched\u003c/em> to see the first sections of BART open in ’72—even though that only included 12 East Bay stations between MacArthur and Fremont.\u003c/p>\n\u003cp>Despite the fact that they could hop on a train the next day, next week, or, who knows, 50 years down the line, approximately 15,000 people showed up to ride on BART’s first day. They waited for hours on crowded platforms, as trains struggled to keep up with the passenger loads—an issue exacerbated by revelers refusing to get off the trains for hours. The \u003cem>Examiner\u003c/em> reported that the very patient humans stuck at stations handled it “with good grace and a sense of history.” Many were apparently wearing pins that read: “Day One. I was there. Sept. 11.” (If you happen to stumble across one of these while thrifting, remember it’s about BART and not, well, you know, the other thing.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the trains, according to a \u003cem>Concord Transcript\u003c/em> report the following day, “Passengers crowded aboard, and seats on many trains were full with people in the aisles, packed like sardines, three abreast in a 70 mile-per-hour aluminum can.” (So like every pre-pandemic rush-hour then…)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After one intrepid reporter tried out the trains, the \u003cem>Peninsular Times Tribune\u003c/em> noted: “Compared to the subway systems in New York and Philadelphia, BART offers a very smooth quiet ride at high speeds.” (Tell that to the KQED listener who wrote to \u003cem>Bay Curious\u003c/em> in 2016 to ask why the trains “\u003ca href=\"https://www.kqed.org/news/11030282/why-are-bart-trains-so-loud\" target=\"_blank\" rel=\"noopener noreferrer\">scream like banshees\u003c/a>.”)\u003c/p>\n\u003cp>The reason everyone was so excited about the smoothness and comfort levels of BART at the time was because it was more modern than literally every other transport system in the country. So much so that \u003cem>U.S. News & World Report\u003c/em> magazine called it “a marvel of technology.” Everything about the heavily computerized BART system was indeed state of the art—as evidenced by this photo of a train controller in 1972.\u003c/p>\n\u003cfigure id=\"attachment_13918650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-1172830317-800x552.jpg\" alt=\"A Black man in 1970s attire sits at a control desk with several keyboards, a phone receiver, a screen and a microphone.\" width=\"800\" height=\"552\">\u003cfigcaption class=\"wp-caption-text\">Train Controller Carroll Shepard at the console of then-BART headquarters, Lake Merritt Station, two weeks before opening day. \u003ccite>(MediaNews Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think we can all agree that that gorgeous console in front of Mr. Shepard would be perfectly at home in sci-fi classics like \u003cem>Battlestar Galactica\u003c/em> (\u003ca href=\"https://www.imdb.com/title/tt0076984/?ref_=nv_sr_srsg_3\" target=\"_blank\" rel=\"noopener noreferrer\">the original series\u003c/a>), \u003cem>Westworld\u003c/em> (\u003ca href=\"https://www.kqed.org/pop/107664/missing-hbos-westworld-watch-the-amazing-1973-original\" target=\"_blank\" rel=\"noopener noreferrer\">the original movie\u003c/a>) or \u003cem>THX 1138\u003c/em> (\u003ca href=\"https://www.imdb.com/title/tt0066434/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">George Lucas’ first feature film\u003c/a>). What’s that? You’ve never heard of \u003cem>THX 1138\u003c/em>? Well, it stars Robert Duvall with a shaved head, it’s about humans being denied sex lives, and it actually \u003cem>did\u003c/em> use the real-life, under-construction BART control room and tunnels as sets.\u003c/p>\n\u003cp>Let’s marvel now at how futuristic BART—and the Broadway Street tunnel!—looks once there’s a bunch of motorcycle-riding robots involved:\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/J5nmxHjPuvY'\n title='//www.youtube.com/embed/J5nmxHjPuvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On Sept. 11 itself, the \u003cem>San Francisco Examiner\u003c/em> interviewed several transportation enthusiasts who were in attendance for opening day. These included a 25-year-old San Franciscan named George Mitchell, who had set a record in 1966 for riding every train and stopping at every station in every borough of New York City. Which took him 24 hours and 44 minutes and sounds like a wretched ordeal no human should ever suffer. “I plan to do the same with BART when it’s completed,” he said, like a maniac.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there was a 63-year-old Albany resident named Bonida Cargile who, for some reason, had spent her life trying to be on the first and last modes of transport as they were introduced or canceled. “In the 1930s,” the \u003cem>Examiner\u003c/em> noted, “she and her husband rode the last F Line Key System train … The same day, she took the first Red Train from San Leandro.”\u003c/p>\n\u003cp>It’s possible that Mitchell and Cargile had a little too much time on their hands, but to each their own! There were plenty of regular, \u003cem>not\u003c/em> train-obsessed people in attendance as well. Like Theresa Edwards and her daughter Mekela, seen below, who were the first paying customers at 12th Street Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13918652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-1172830320-800x641.jpg\" alt=\"A Black woman carrying a toddler makes her way through BART barriers, ticket in hand, as crowds watch on.\" width=\"800\" height=\"641\">\u003cfigcaption class=\"wp-caption-text\">Sept. 11, 1972. BART opened. Solid fashion choices were made. \u003ccite>(MediaNews Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003cem>Examiner\u003c/em> also encountered a young couple on a train who were full of the early-1970s Bay Area spirit (i.e. drugs). The paper reported:\u003c/p>\n\u003cblockquote>\u003cp>All segments of society were numbered among BART’s opening day riders, and one of these was a pretty little redhead, snuggled in the denimed crook of her boyfriend’s arm, who was especially admiring of the differing station decors. ‘If you get too stoned to read the station signs,’ said she, as the train whisked from the red-brick Oakland Civic Center station to the blue-brick 19th Street Oakland station, ‘all you have to do is remember what color to look for!’\u003c/p>\u003c/blockquote>\n\u003cp>That’s the spirit!\u003c/p>\n\u003cp>Here’s what Theresa and Mekela and the stoned couple’s train might have looked like on that very first day.\u003c/p>\n\u003cfigure id=\"attachment_13918653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-515107660-1-800x618.jpg\" alt=\"A train travels on elevated tracks, with the sparse Oakland skyline in the distance.\" width=\"800\" height=\"618\">\u003cfigcaption class=\"wp-caption-text\">BART on September 11,1972. Hi, Tribune building!\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>Examiner\u003c/em> later claimed that 92% of travelers on BART’s opening day thought it was “wonderful.” The paper also noted: “Another 5 percent put it this way: ‘It’s swell!’ While the remaining 3 percent said, ‘It’s tops!’” It’s an approval rating BART has spent the last half century trying its damnedest to match.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "hitting-the-road-and-building-a-northern-california-bucket-list",
"title": "Hitting the Road and Building a Northern California Bucket List",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast July, longtime KTVU traffic reporter Sal Casteneda \u003ca href=\"https://twitter.com/sal_castaneda/status/1286013906687688704?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> that, despite being born and raised in the Bay, he had never been to Alcatraz. A chorus of responses with similar stories ensued.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>After reading it, I did that thing we all do, where you mentally respond but you don’t actually join the thread. In my telepathic reply, I said that I’d actually been to Alcatraz a couple times;\u003ca href=\"https://www.kqed.org/arts/13808936/a-father-and-son-together-on-alcatraz-for-the-first-time\" target=\"_blank\" rel=\"noopener noreferrer\"> once with a guy who had escaped from San Quentin\u003c/a>, turned himself back in, and served two more decades before being released legally.\u003c/p>\n\u003cp>In fact, I’ve done a handful of traditionally “Northern California” things while growing up here. I’ve panned for gold in Sacramento and attended tech conferences in Silicon Valley. I’ve seen the sunrise on Mt. Diablo, been swimming on a hot day in Lake Tahoe, and shivered while watching the sunset at Ocean Beach.\u003c/p>\n\u003cfigure id=\"attachment_13900303\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01529-800x535.jpg\" alt=\"Passing under the eastern span of the Bay Bridge, looking at toward the East Bay.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01529-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01529-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01529-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01529-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01529-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01529.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Passing under the eastern span of the Bay Bridge, looking at toward the East Bay. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I could talk your ear off about what I’ve done. But what’s on my mind right now are the things I \u003cem>haven’t\u003c/em> done.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’m talking quintessential Northern Californian activities: hiking a trail in Yosemite or going wine tasting in Napa. Honestly, ever since I was a kid and heard that advertising slogan about how “\u003ca href=\"https://www.youtube.com/watch?v=f3PBK6nQbGo\" target=\"_blank\" rel=\"noopener noreferrer\">happy cows come from California\u003c/a>,” I’ve wanted to milk a cow.\u003c/p>\n\u003cp>Essentially, I’m on a mission to be an expert in California culture. And to fulfill this goal, I should probably embark on some of its “traditional” experiences. Plus, with me, nothing really happens in a traditional fashion (example: the aforementioned trip to Alcatraz).\u003c/p>\n\u003cp>Here’s where you come in. I’m compiling a list of things to do in the coming weeks—places to see and people to meet, and stories to write so you can follow along. But before I do, I’m taking your suggestions. What are some classic Northern California excursions that I might be missing? What’s something every person in this state needs to do before they die? What off-the-beaten path discoveries are out there waiting for me?\u003c/p>\n\u003cp>I know you have ideas. \u003ca href=\"https://artskqed.typeform.com/BucketList\" target=\"_blank\" rel=\"noopener noreferrer\">Send ’em to me here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13900308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01576-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01576-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01576-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01576-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01576-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01576-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01576.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the meantime, I’m going to start by whittling away at the preliminary list I’ve already compiled. First up is the tale of this, um, \u003cem>historic\u003c/em> boat trip I took this past weekend.\u003c/p>\n\u003cp>Since the very first episode of \u003ca href=\"https://eastbayyesterday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>East Bay Yesterday\u003c/em>\u003c/a> all the way to the most recent one on \u003ca href=\"https://eastbayyesterday.com/episodes/who-ordered-the-hit/\" target=\"_blank\" rel=\"noopener noreferrer\">Mac Dre’s death\u003c/a>, I’ve been following the work of historian and show host Liam O’Donoghue. (I’ve also\u003ca href=\"https://eastbayyesterday.com/episodes/i-believe-in-the-elders/\" target=\"_blank\" rel=\"noopener noreferrer\"> appeared on an episode\u003c/a>.)\u003c/p>\n\u003cp>When I first found out O’Donoghue also hosts boat tours, I put it on a long-ass list of “things to eventually do in life.” He’s been doing these tours for three years now, and I finally made the trip this past weekend.\u003c/p>\n\u003cp>As Liam’s voice shoots through the PA system on a 50-foot Delta Marine boat named \u003ca href=\"https://pacific-pearl.squarespace.com/about/#about-the-crew\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Pearl\u003c/a>, the boat’s Captain Andy Guiliano steers us from the Emeryville Marina’s Sport Fishing Dock. We pick up speed, and the bow of the boat breaks waves before slowing near the Bay Bridge. That’s where O’Donoghue tells us about the gold dust that was found in the sediment during the construction of Treasure Island, as well as the wild minty herb that’s indigenous to this area and partially responsible for the name of Yerba Buena Island.\u003c/p>\n\u003cfigure id=\"attachment_13900305\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01543-800x535.jpg\" alt=\"Liam O'Donoghue speaks through the boat's PA system as he shares tidbits of the Eat Bay's history. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01543-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01543-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01543-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01543-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01543-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01543.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liam O’Donoghue speaks through the boat’s PA system, sharing tidbits of the East Bay’s history. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seals are spotted on the San Francisco side of the island before the boat turns southeast toward Oakland, only to stop in the middle of the water. Liam asks the 25 or so people on board if they can guess what we’re floating over. Without skipping a beat, a voice near the boat’s stern says “BART.” Bingo.\u003c/p>\n\u003cp>We kick up a few knots, heading toward the Port of Oakland. As we float past the huge ships that export fresh produce and import newly manufactured goods, O’Donoghue tells us about the history of the port’s cranes, utters a “no comment” about the future of Howard Terminal, and then shares the story of the longshore workers—specifically \u003ca href=\"https://www.ilwu.org/death-of-nelson-mandela-recalls-decades-of-ilwu-support-for-anti-apartheid-struggle/\" target=\"_blank\" rel=\"noopener noreferrer\">the members of the ILWU\u003c/a>—who made notable contributions to ending Apartheid in South Africa by refusing to unload goods from that country.\u003c/p>\n\u003cp>As the barge moves past Jack London Square and the channel that feeds into Lake Merritt, we head toward Brooklyn Basin, where people are rollerskating along the water. I get a tap on my shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13900508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DorothyLazard.Boat_-800x533.jpg\" alt=\"Dorothy Lazard wearing a knit cap and sunglasses, on a boat, with the SF skyline in the background\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DorothyLazard.Boat_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DorothyLazard.Boat_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DorothyLazard.Boat_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DorothyLazard.Boat_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DorothyLazard.Boat_.jpg 1463w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dorothy Lazard of the Oakland Public Library rides along for an East Bay Yesterday boat tour of the San Francisco Bay. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13875177/dorothy-lazard-rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Lazard\u003c/a>, head librarian in the Oakland Public Library’s History Center, speaks through her mask and over the sound of the boat’s engine, pointing toward Coast Guard Island. She tells me that her husband, Gerald Chambers, who’s sitting on the other side of her in the boat, used to go swimming there as a child.\u003c/p>\n\u003cp>Between O’Donoghue pointing out where the bullet-dodging-scene from \u003cem>The Matrix\u003c/em> was filmed and the white-and-blue paint job on the boat house Tom Hanks lived in as a young adult, Lazard and I catch up.\u003c/p>\n\u003cp>She tells me about what’s been going on in her life as of late, including a recent trip to Chicago to see the work of \u003ca href=\"https://www.artic.edu/exhibitions/9324/bisa-butler-portraits\" target=\"_blank\" rel=\"noopener noreferrer\">Bisa Butler.\u003c/a>\u003c/p>\n\u003cp>I tell her about my back-and-forth journey between Oakland and Sacramento, and what parenting during the pandemic has taught me about life. Then I broach the idea of creating a Northern Californian bucket list of sorts. What would she put on it?\u003c/p>\n\u003cfigure id=\"attachment_13900306\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900306\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01612-800x535.jpg\" alt=\"Originally the Berkeley Pier stretched 3.5 miles into the Bay's water!\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01612-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01612-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01612-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01612-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01612-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01612.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Berkeley Pier originally stretched 3.5 miles out into the Bay. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lazard, who also serves as the travel guidebook selector at the library, jokingly suggests that I participate in the harvesting of a peculiar delicacy in West Marin: \u003ca href=\"https://www.youtube.com/watch?v=T1tqx5B6hxw\" target=\"_blank\" rel=\"noopener noreferrer\">geoduck clams\u003c/a>, which are shaped like penises.\u003c/p>\n\u003cp>Days later, after letting the question marinate, I call Lazard and ask again. We start compiling a list of things that I haven’t seen and places I haven’t been. The Grateful Dead house in San Francisco. The ticky-tacky houses in Daly City. The dock on the Bay where Otis Redding wrote his famous song, and the \u003ca href=\"https://www.steinbeck.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Steinbeck Center\u003c/a> dedicated to the world-famous author. There’s the Black Diamond Mines near Mt. Diablo, mud baths in Napa, and the salt flats in Fremont (which O’Donoghue mentions during the boat tour as one of the Bay Area’s earliest forms of industry).\u003c/p>\n\u003cp>When I ask O’Donoghue about my idea, his response is twofold: go to Año Nuevo State Park in January to see the elephant seals. And hit the Sea View trail in Tilden Park on a clear day to see the Golden Gate Bridge, Mt. Tamalpais, the Delta and the San Pablo Bay all from one spot.\u003c/p>\n\u003cp>“You can get a sense the beauty of this place,” says O’Donoghue, noting how standing along that ridge not only brings views, but the ability to “smell eucalyptus trees and see coyotes.”\u003c/p>\n\u003cp>The boat trip concludes. It may have only covered a small patch of the Bay, but it covered a wide array of topics—from the history of the Indigenous community’s shellmounds to the current restoration projects to cleanse the Bay. And it put a whole lot of ideas in my head.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13900309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01620-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01620-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01620-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01620-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01620-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01620-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01620.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> three-hour boat trip around the Bay showed me a side of home that I had never seen before. And even for the things I’d heard about, seeing the place where they actually happened was just \u003cem>different\u003c/em>.\u003c/p>\n\u003cp>That’s what I want more of. I want to take this place that I’ve called home for basically all of my life, and gain experiences that force me to look at it from a slightly different perspective. What better way than to spend a few weeks to get refreshed on what California means?\u003c/p>\n\u003cp>There are so many people to meet, places to go, and things to see—and I hope you’ll follow along.\u003c/p>\n\u003cdiv class=\"typeform-widget\" data-url=\"https://form.typeform.com/to/es8kBxu8?typeform-medium=embed-snippet\" style=\"width: 100%; height: 500px;\">\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003cscript> (function() { var qs,js,q,s,d=document, gi=d.getElementById, ce=d.createElement, gt=d.getElementsByTagName, id=\"typef_orm\", b=\"https://embed.typeform.com/\"; if(!gi.call(d,id)) { js=ce.call(d,\"script\"); js.id=id; js.src=b+\"embed.js\"; q=gt.call(d,\"script\")[0]; q.parentNode.insertBefore(js,q) } })() \u003c/script>\u003c/p>\n\n",
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"excerpt": "What are your quintessential Northern California experiences? Pendarvis Harshaw wants your suggestions.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast July, longtime KTVU traffic reporter Sal Casteneda \u003ca href=\"https://twitter.com/sal_castaneda/status/1286013906687688704?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> that, despite being born and raised in the Bay, he had never been to Alcatraz. A chorus of responses with similar stories ensued.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>After reading it, I did that thing we all do, where you mentally respond but you don’t actually join the thread. In my telepathic reply, I said that I’d actually been to Alcatraz a couple times;\u003ca href=\"https://www.kqed.org/arts/13808936/a-father-and-son-together-on-alcatraz-for-the-first-time\" target=\"_blank\" rel=\"noopener noreferrer\"> once with a guy who had escaped from San Quentin\u003c/a>, turned himself back in, and served two more decades before being released legally.\u003c/p>\n\u003cp>In fact, I’ve done a handful of traditionally “Northern California” things while growing up here. I’ve panned for gold in Sacramento and attended tech conferences in Silicon Valley. I’ve seen the sunrise on Mt. Diablo, been swimming on a hot day in Lake Tahoe, and shivered while watching the sunset at Ocean Beach.\u003c/p>\n\u003cfigure id=\"attachment_13900303\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01529-800x535.jpg\" alt=\"Passing under the eastern span of the Bay Bridge, looking at toward the East Bay.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01529-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01529-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01529-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01529-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01529-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01529.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Passing under the eastern span of the Bay Bridge, looking at toward the East Bay. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I could talk your ear off about what I’ve done. But what’s on my mind right now are the things I \u003cem>haven’t\u003c/em> done.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m talking quintessential Northern Californian activities: hiking a trail in Yosemite or going wine tasting in Napa. Honestly, ever since I was a kid and heard that advertising slogan about how “\u003ca href=\"https://www.youtube.com/watch?v=f3PBK6nQbGo\" target=\"_blank\" rel=\"noopener noreferrer\">happy cows come from California\u003c/a>,” I’ve wanted to milk a cow.\u003c/p>\n\u003cp>Essentially, I’m on a mission to be an expert in California culture. And to fulfill this goal, I should probably embark on some of its “traditional” experiences. Plus, with me, nothing really happens in a traditional fashion (example: the aforementioned trip to Alcatraz).\u003c/p>\n\u003cp>Here’s where you come in. I’m compiling a list of things to do in the coming weeks—places to see and people to meet, and stories to write so you can follow along. But before I do, I’m taking your suggestions. What are some classic Northern California excursions that I might be missing? What’s something every person in this state needs to do before they die? What off-the-beaten path discoveries are out there waiting for me?\u003c/p>\n\u003cp>I know you have ideas. \u003ca href=\"https://artskqed.typeform.com/BucketList\" target=\"_blank\" rel=\"noopener noreferrer\">Send ’em to me here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13900308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01576-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01576-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01576-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01576-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01576-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01576-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01576.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the meantime, I’m going to start by whittling away at the preliminary list I’ve already compiled. First up is the tale of this, um, \u003cem>historic\u003c/em> boat trip I took this past weekend.\u003c/p>\n\u003cp>Since the very first episode of \u003ca href=\"https://eastbayyesterday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>East Bay Yesterday\u003c/em>\u003c/a> all the way to the most recent one on \u003ca href=\"https://eastbayyesterday.com/episodes/who-ordered-the-hit/\" target=\"_blank\" rel=\"noopener noreferrer\">Mac Dre’s death\u003c/a>, I’ve been following the work of historian and show host Liam O’Donoghue. (I’ve also\u003ca href=\"https://eastbayyesterday.com/episodes/i-believe-in-the-elders/\" target=\"_blank\" rel=\"noopener noreferrer\"> appeared on an episode\u003c/a>.)\u003c/p>\n\u003cp>When I first found out O’Donoghue also hosts boat tours, I put it on a long-ass list of “things to eventually do in life.” He’s been doing these tours for three years now, and I finally made the trip this past weekend.\u003c/p>\n\u003cp>As Liam’s voice shoots through the PA system on a 50-foot Delta Marine boat named \u003ca href=\"https://pacific-pearl.squarespace.com/about/#about-the-crew\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Pearl\u003c/a>, the boat’s Captain Andy Guiliano steers us from the Emeryville Marina’s Sport Fishing Dock. We pick up speed, and the bow of the boat breaks waves before slowing near the Bay Bridge. That’s where O’Donoghue tells us about the gold dust that was found in the sediment during the construction of Treasure Island, as well as the wild minty herb that’s indigenous to this area and partially responsible for the name of Yerba Buena Island.\u003c/p>\n\u003cfigure id=\"attachment_13900305\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01543-800x535.jpg\" alt=\"Liam O'Donoghue speaks through the boat's PA system as he shares tidbits of the Eat Bay's history. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01543-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01543-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01543-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01543-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01543-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01543.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liam O’Donoghue speaks through the boat’s PA system, sharing tidbits of the East Bay’s history. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seals are spotted on the San Francisco side of the island before the boat turns southeast toward Oakland, only to stop in the middle of the water. Liam asks the 25 or so people on board if they can guess what we’re floating over. Without skipping a beat, a voice near the boat’s stern says “BART.” Bingo.\u003c/p>\n\u003cp>We kick up a few knots, heading toward the Port of Oakland. As we float past the huge ships that export fresh produce and import newly manufactured goods, O’Donoghue tells us about the history of the port’s cranes, utters a “no comment” about the future of Howard Terminal, and then shares the story of the longshore workers—specifically \u003ca href=\"https://www.ilwu.org/death-of-nelson-mandela-recalls-decades-of-ilwu-support-for-anti-apartheid-struggle/\" target=\"_blank\" rel=\"noopener noreferrer\">the members of the ILWU\u003c/a>—who made notable contributions to ending Apartheid in South Africa by refusing to unload goods from that country.\u003c/p>\n\u003cp>As the barge moves past Jack London Square and the channel that feeds into Lake Merritt, we head toward Brooklyn Basin, where people are rollerskating along the water. I get a tap on my shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13900508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DorothyLazard.Boat_-800x533.jpg\" alt=\"Dorothy Lazard wearing a knit cap and sunglasses, on a boat, with the SF skyline in the background\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DorothyLazard.Boat_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DorothyLazard.Boat_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DorothyLazard.Boat_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DorothyLazard.Boat_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DorothyLazard.Boat_.jpg 1463w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dorothy Lazard of the Oakland Public Library rides along for an East Bay Yesterday boat tour of the San Francisco Bay. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13875177/dorothy-lazard-rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Lazard\u003c/a>, head librarian in the Oakland Public Library’s History Center, speaks through her mask and over the sound of the boat’s engine, pointing toward Coast Guard Island. She tells me that her husband, Gerald Chambers, who’s sitting on the other side of her in the boat, used to go swimming there as a child.\u003c/p>\n\u003cp>Between O’Donoghue pointing out where the bullet-dodging-scene from \u003cem>The Matrix\u003c/em> was filmed and the white-and-blue paint job on the boat house Tom Hanks lived in as a young adult, Lazard and I catch up.\u003c/p>\n\u003cp>She tells me about what’s been going on in her life as of late, including a recent trip to Chicago to see the work of \u003ca href=\"https://www.artic.edu/exhibitions/9324/bisa-butler-portraits\" target=\"_blank\" rel=\"noopener noreferrer\">Bisa Butler.\u003c/a>\u003c/p>\n\u003cp>I tell her about my back-and-forth journey between Oakland and Sacramento, and what parenting during the pandemic has taught me about life. Then I broach the idea of creating a Northern Californian bucket list of sorts. What would she put on it?\u003c/p>\n\u003cfigure id=\"attachment_13900306\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900306\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01612-800x535.jpg\" alt=\"Originally the Berkeley Pier stretched 3.5 miles into the Bay's water!\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01612-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01612-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01612-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01612-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01612-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01612.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Berkeley Pier originally stretched 3.5 miles out into the Bay. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lazard, who also serves as the travel guidebook selector at the library, jokingly suggests that I participate in the harvesting of a peculiar delicacy in West Marin: \u003ca href=\"https://www.youtube.com/watch?v=T1tqx5B6hxw\" target=\"_blank\" rel=\"noopener noreferrer\">geoduck clams\u003c/a>, which are shaped like penises.\u003c/p>\n\u003cp>Days later, after letting the question marinate, I call Lazard and ask again. We start compiling a list of things that I haven’t seen and places I haven’t been. The Grateful Dead house in San Francisco. The ticky-tacky houses in Daly City. The dock on the Bay where Otis Redding wrote his famous song, and the \u003ca href=\"https://www.steinbeck.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Steinbeck Center\u003c/a> dedicated to the world-famous author. There’s the Black Diamond Mines near Mt. Diablo, mud baths in Napa, and the salt flats in Fremont (which O’Donoghue mentions during the boat tour as one of the Bay Area’s earliest forms of industry).\u003c/p>\n\u003cp>When I ask O’Donoghue about my idea, his response is twofold: go to Año Nuevo State Park in January to see the elephant seals. And hit the Sea View trail in Tilden Park on a clear day to see the Golden Gate Bridge, Mt. Tamalpais, the Delta and the San Pablo Bay all from one spot.\u003c/p>\n\u003cp>“You can get a sense the beauty of this place,” says O’Donoghue, noting how standing along that ridge not only brings views, but the ability to “smell eucalyptus trees and see coyotes.”\u003c/p>\n\u003cp>The boat trip concludes. It may have only covered a small patch of the Bay, but it covered a wide array of topics—from the history of the Indigenous community’s shellmounds to the current restoration projects to cleanse the Bay. And it put a whole lot of ideas in my head.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13900309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01620-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01620-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01620-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01620-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01620-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01620-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01620.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> three-hour boat trip around the Bay showed me a side of home that I had never seen before. And even for the things I’d heard about, seeing the place where they actually happened was just \u003cem>different\u003c/em>.\u003c/p>\n\u003cp>That’s what I want more of. I want to take this place that I’ve called home for basically all of my life, and gain experiences that force me to look at it from a slightly different perspective. What better way than to spend a few weeks to get refreshed on what California means?\u003c/p>\n\u003cp>There are so many people to meet, places to go, and things to see—and I hope you’ll follow along.\u003c/p>\n\u003cdiv class=\"typeform-widget\" data-url=\"https://form.typeform.com/to/es8kBxu8?typeform-medium=embed-snippet\" style=\"width: 100%; height: 500px;\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "For a Young Girl in the Bay Area, DMX Made Sense of Life's Emotional Complexities",
"headTitle": "For a Young Girl in the Bay Area, DMX Made Sense of Life’s Emotional Complexities | KQED",
"content": "\u003cp>When I was twelve years old, I’d ride BART each week to \u003ca href=\"https://mccatheater.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Arts Center\u003c/a> in Oakland to attend hip-hop dance class. There, one of the first dance routines I learned was set to DMX’s “\u003ca href=\"https://www.youtube.com/watch?v=ThlhSnRk21E\" rel=\"noopener noreferrer\" target=\"_blank\">Ruff Ryders Anthem\u003c/a>.” \u003c/p>\n\u003cp>Can you imagine a room full of pre-teen Black girls, giving their heart and soul to movement, while DMX’s voice rings out with passion over Swizz Beatz’s siren-like production? To this day, it’s one of the most exhilarating dance performances I’ve ever done. We didn’t really know what the song was about, but we felt the urgency in DMX’s voice, and it made us feel alive. Like we could dance forever.\u003c/p>\n\u003cp>[aside postID='arts_13895484']This was around 1998. I was in junior high school. I was confused and curious about life, often lonely, and unsure of who or what I wanted to be. Music, books, poetry, and dancing spoke to me in ways that I didn’t quite understand. They just made me feel alive. DMX’s music was playing at the first house party I attended in Hayward, as my female friends grinded against boys, sweat slipped off arms, and daisy duke shorts and jersey tops clung to bodies. “Party Up” blasted from the speakers and we \u003ca href=\"https://www.youtube.com/watch?v=thIVtEOtlWM\" rel=\"noopener noreferrer\" target=\"_blank\">lost our minds\u003c/a>, literally, on the dance floor.\u003c/p>\n\u003cp>In junior high and high school, we were all trying to make sense of new feelings, new changes in our bodies, and DMX’s music was a welcome exploration of the warring sides of humanity—the striving for a better way, the fun fearlessness, the demons that haunt our movement, and the pain that \u003ca href=\"https://www.youtube.com/watch?v=arJy3T65l6A\" rel=\"noopener noreferrer\" target=\"_blank\">propels us to flight\u003c/a>. Surely, at our young ages, we hadn’t experienced the extreme highs and lows that DMX did, but we were pulled into his honest, emotional delivery, and felt it deeply. At a time when I was coming into my own understanding of being an artist, to be a witness to his artistry was a gift. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4AognXgM9FQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>DMX gave us vivid stories about lives we didn’t live, and became the rapper we all had a crush on. I remember listening to “\u003ca href=\"https://www.youtube.com/watch?v=_NvVyjHUwaU\" rel=\"noopener noreferrer\" target=\"_blank\">How’s It Goin Down\u003c/a>” as a teenager and being swept into a world of lost love. This song unfolded like a movie to me, right down to the specific description: “Coming through, like I do, you know, getting my bark on / Knew she was a thug ‘cause when I met her she had a scarf on / 54-11, size 7 in girls / Babyface, would look like she was 11 with curls / Girlfriend (what!) remember me, from way back, I’m the same cat / With the wave cap, the motherfucker that TNT used to blaze at.” I was \u003cem>sad\u003c/em> that DMX and this woman couldn’t be together. Faith Evans’ soft vocals during the chorus made this sense of yearning palpable and real. \u003c/p>\n\u003cp>Through his music, DMX made it okay to own our emotions, to wrestle with them, to feel, and to heal, openly, without fear of shame or judgement. He was vulnerable in a way that we were taught not to be, and that’s where he connected with so many. I saw my black and brown classmates fighting to hold back tears after being clowned and dissed, after losing or winning physical fights, or coming to school after traumatic home experiences in pain, only to feign happiness, to smile as if things were okay. Black boys were encouraged to adopt a tough masculine persona that erased the texture of their emotions, and the toxicity of that kind of existence only damaged their lives further, as they adopted troubling patterns of exerting dominance over others in unhealthy ways.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9Ww-TQUeA3E\u003c/p>\n\u003cp>But something in DMX’s music—in his own admissions of pain, trauma, flaws, and joy; in the way he played with pitch and tone in his vocal delivery, the way his voice could go from a low rasp to a heightened hymn; in the way he could carry a whole song—gave us another way to see the complexities and contradictions of life. On “\u003ca href=\"https://www.youtube.com/watch?v=9Ww-TQUeA3E\" rel=\"noopener noreferrer\" target=\"_blank\">Slippin’\u003c/a>,” when he rapped “Damn, was it my fault, somethin’ I did / To make a father leave his first kid at 7 doin’ my first bid?,” I felt the pain of his abandonment, but also a sense of unyielding hope.\u003c/p>\n\u003cp>DMX often \u003ca href=\"https://www.nytimes.com/2012/02/25/arts/music/the-rapper-dmx-performs-at-sobs.html\" rel=\"noopener noreferrer\" target=\"_blank\">prayed onstage\u003c/a>, and when he cried onstage during a prayer, it radiated strength and a kind of transparent, elevated spirituality that most hadn’t achieved yet. He was not interested in hiding, or showing only parts of himself. He was a whole, complete person and artist and this is how we remember him. \u003c/p>\n\u003cp>DMX expanded the emotional depth of his art form. As artists, may we all strive to do the same.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nijla Mu’min is an award-winning writer and filmmaker raised in Oakland. Her feature film ‘Jinn’ premiered in 2018, and she has since directed episodes of ‘Insecure’ and ‘Queen Sugar’ for television. Learn more \u003ca href=\"https://www.nijlamumin.com/about\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This was around 1998. I was in junior high school. I was confused and curious about life, often lonely, and unsure of who or what I wanted to be. Music, books, poetry, and dancing spoke to me in ways that I didn’t quite understand. They just made me feel alive. DMX’s music was playing at the first house party I attended in Hayward, as my female friends grinded against boys, sweat slipped off arms, and daisy duke shorts and jersey tops clung to bodies. “Party Up” blasted from the speakers and we \u003ca href=\"https://www.youtube.com/watch?v=thIVtEOtlWM\" rel=\"noopener noreferrer\" target=\"_blank\">lost our minds\u003c/a>, literally, on the dance floor.\u003c/p>\n\u003cp>In junior high and high school, we were all trying to make sense of new feelings, new changes in our bodies, and DMX’s music was a welcome exploration of the warring sides of humanity—the striving for a better way, the fun fearlessness, the demons that haunt our movement, and the pain that \u003ca href=\"https://www.youtube.com/watch?v=arJy3T65l6A\" rel=\"noopener noreferrer\" target=\"_blank\">propels us to flight\u003c/a>. Surely, at our young ages, we hadn’t experienced the extreme highs and lows that DMX did, but we were pulled into his honest, emotional delivery, and felt it deeply. At a time when I was coming into my own understanding of being an artist, to be a witness to his artistry was a gift. \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/4AognXgM9FQ'\n title='//www.youtube.com/embed/4AognXgM9FQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>DMX gave us vivid stories about lives we didn’t live, and became the rapper we all had a crush on. I remember listening to “\u003ca href=\"https://www.youtube.com/watch?v=_NvVyjHUwaU\" rel=\"noopener noreferrer\" target=\"_blank\">How’s It Goin Down\u003c/a>” as a teenager and being swept into a world of lost love. This song unfolded like a movie to me, right down to the specific description: “Coming through, like I do, you know, getting my bark on / Knew she was a thug ‘cause when I met her she had a scarf on / 54-11, size 7 in girls / Babyface, would look like she was 11 with curls / Girlfriend (what!) remember me, from way back, I’m the same cat / With the wave cap, the motherfucker that TNT used to blaze at.” I was \u003cem>sad\u003c/em> that DMX and this woman couldn’t be together. Faith Evans’ soft vocals during the chorus made this sense of yearning palpable and real. \u003c/p>\n\u003cp>Through his music, DMX made it okay to own our emotions, to wrestle with them, to feel, and to heal, openly, without fear of shame or judgement. He was vulnerable in a way that we were taught not to be, and that’s where he connected with so many. I saw my black and brown classmates fighting to hold back tears after being clowned and dissed, after losing or winning physical fights, or coming to school after traumatic home experiences in pain, only to feign happiness, to smile as if things were okay. Black boys were encouraged to adopt a tough masculine persona that erased the texture of their emotions, and the toxicity of that kind of existence only damaged their lives further, as they adopted troubling patterns of exerting dominance over others in unhealthy ways.\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/9Ww-TQUeA3E'\n title='//www.youtube.com/embed/9Ww-TQUeA3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But something in DMX’s music—in his own admissions of pain, trauma, flaws, and joy; in the way he played with pitch and tone in his vocal delivery, the way his voice could go from a low rasp to a heightened hymn; in the way he could carry a whole song—gave us another way to see the complexities and contradictions of life. On “\u003ca href=\"https://www.youtube.com/watch?v=9Ww-TQUeA3E\" rel=\"noopener noreferrer\" target=\"_blank\">Slippin’\u003c/a>,” when he rapped “Damn, was it my fault, somethin’ I did / To make a father leave his first kid at 7 doin’ my first bid?,” I felt the pain of his abandonment, but also a sense of unyielding hope.\u003c/p>\n\u003cp>DMX often \u003ca href=\"https://www.nytimes.com/2012/02/25/arts/music/the-rapper-dmx-performs-at-sobs.html\" rel=\"noopener noreferrer\" target=\"_blank\">prayed onstage\u003c/a>, and when he cried onstage during a prayer, it radiated strength and a kind of transparent, elevated spirituality that most hadn’t achieved yet. He was not interested in hiding, or showing only parts of himself. He was a whole, complete person and artist and this is how we remember him. \u003c/p>\n\u003cp>DMX expanded the emotional depth of his art form. As artists, may we all strive to do the same.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nijla Mu’min is an award-winning writer and filmmaker raised in Oakland. Her feature film ‘Jinn’ premiered in 2018, and she has since directed episodes of ‘Insecure’ and ‘Queen Sugar’ for television. Learn more \u003ca href=\"https://www.nijlamumin.com/about\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>These days, most BART riders spend their travel time staring at their phones—and understandably so. In an increasingly digitized world accelerated by the isolation of the pandemic, our lives have migrated almost entirely online. \u003c/p>\n\u003cp>But now, BART riders are able to use touchless Short Story Dispensers to receive free one-, three- and five-minute reads at Richmond, Fruitvale, and Pleasant Hill Stations, with another one coming soon to Montgomery Street Station. Local writers will have the chance to have their work published and distributed as part of the project after the one-year pilot, sponsored by the BART Communications Department and Art Program, is up and running. \u003c/p>\n\u003cp>The kiosks are COVID-safe and touchless—a story is dispensed by simply holding your finger above a sensor—and the stories are printed on recyclable paper. Readers are encouraged to collect the stories.[aside postID='arts_11597242']\u003c/p>\n\u003cp>The program is operating in partnership with Short Édition, a French publishing house that specializes in poetry, short stories, and flash fiction. Founded in 2011 and expanding their reach to the United States in 2018, Short Édition created the Short Story Dispenser in 2016, printing and distributing their one, three, and five minute stories in public spaces around the world with the aim of uplifting literature in a digital age. \u003c/p>\n\u003cp>The first dispenser in the country \u003ca href=\"https://www.kqed.org/arts/11597242/a-short-story-vending-machine-dispensing-free-stimulation\" rel=\"noopener noreferrer\" target=\"_blank\">was installed at Café Zoetrope\u003c/a> in San Francisco’s North Beach. Filmmaker Francis Ford Coppola, the owner of the cafe, read about the concept in \u003cem>The New Yorker\u003c/em> and was enamored with it, and has found that cafe customers love it. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They are fascinated, trying to figure out how, and why, something can exist to give them a gift, a literary gift, without depositing a coin,” Coppola told BART. He is now an investor in the company. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The arts have been a source of relief for many throughout the past year, and BART officials hope that this can be one small way to improve the day to day lives of their riders. “The opportunity to bring micro fiction into BART, providing creative moments as part of the transit experience,” said Art Program Manager Jennifer Easton, “is even more compelling as the Bay Area emerges from the pandemic.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, most BART riders spend their travel time staring at their phones—and understandably so. In an increasingly digitized world accelerated by the isolation of the pandemic, our lives have migrated almost entirely online. \u003c/p>\n\u003cp>But now, BART riders are able to use touchless Short Story Dispensers to receive free one-, three- and five-minute reads at Richmond, Fruitvale, and Pleasant Hill Stations, with another one coming soon to Montgomery Street Station. Local writers will have the chance to have their work published and distributed as part of the project after the one-year pilot, sponsored by the BART Communications Department and Art Program, is up and running. \u003c/p>\n\u003cp>The kiosks are COVID-safe and touchless—a story is dispensed by simply holding your finger above a sensor—and the stories are printed on recyclable paper. Readers are encouraged to collect the stories.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They are fascinated, trying to figure out how, and why, something can exist to give them a gift, a literary gift, without depositing a coin,” Coppola told BART. He is now an investor in the company. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The arts have been a source of relief for many throughout the past year, and BART officials hope that this can be one small way to improve the day to day lives of their riders. “The opportunity to bring micro fiction into BART, providing creative moments as part of the transit experience,” said Art Program Manager Jennifer Easton, “is even more compelling as the Bay Area emerges from the pandemic.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>This post has been updated.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o let me get this straight: BART, which is a public transportation entity, and a government-owned and operated system, is looking to stop people from performing for spare change within the paid areas of its stations?\u003c/p>\n\u003cp>While BART board members pretty much control how all of this will play out in the coming weeks, with a vote on the matter scheduled for October, many of those who perform on BART aren’t sitting around quietly about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Pen.Commentary.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>On Friday, Aug. 30, at 5pm at the Fruitvale BART station in Oakland, MC Tone Oliver is set to host an event called “\u003ca href=\"https://www.instagram.com/p/B1o0tFEgeh6/\" target=\"_blank\" rel=\"noopener noreferrer\">I Ride With Buskers\u003c/a>,” protesting the proposed ordinance that would ban busking or panhandling in the paid areas of BART property.\u003c/p>\n\u003cp>Although the proposal, introduced by BART Board Director Debora Allen, is far from a vote, let alone implementation, the conversation around her suggestion has ruffled a few feathers.\u003c/p>\n\u003cp>Allen officially announced the proposal last week, not too long after an article published in the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Rapper-Tone-Oliver-makes-up-to-200-a-day-on-14340819.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a> spotlighted Tone Oliver and others who perform on BART. In response to Allen’s announcement, people took to social media to voice their concerns. One user, whose tweet Allen retweeted, created \u003ca href=\"https://twitter.com/luckypalindrome/status/1163957604269191168?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">a survey\u003c/a> of BART riders’ concerns, which reportedly showed that \u003ca href=\"https://twitter.com/luckypalindrome/status/1164029318189572097?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">less than three percent\u003c/a> of those surveyed listed panhandling as a top concern. Of the 100 people surveyed, the majority said cleanliness on BART was the most major concern.\u003c/p>\n\u003cp>That’s the court of public opinion. In the real courts, attorney Abre’ Conner of the ACLU \u003ca href=\"https://www.aclunc.org/docs/2019.08.21_Letter_to_BART_Board_of_Directors.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">published a letter\u003c/a> stating that her organization would sue BART if the proposed ordinance were to pass, arguing it would violate people’s first amendment rights.\u003c/p>\n\u003cp>https://www.instagram.com/p/B1iOIoZgEc_/\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>ee, here’s the thing: Tone Oliver \u003cem>really\u003c/em> uses his free speech. In the traditional form, he gets on his soapbox and expresses himself. He’s not the only one. Tone is a part of a nice-sized roster of BART performers, who time their acts accordingly in between stops, so that they give unsuspecting audiences a brief introduction and short show; enough razzle-dazzle to entice them to cough up a few coins. And then the performers hop off the train or move on to the next car; all of it lasting no more than five minutes.\u003c/p>\n\u003cp>I’ve seen a few performances, not just by Tone, but by plenty others on BART, and honestly I’m amazed.\u003c/p>\n\u003cp>I’m amazed by the dancers hitting flips on BART’s handrails, and impressed that the rappers can rhyme while subject to the submarine pressure pushing on their eardrums as the train dips under the Bay and through the tunnel.\u003c/p>\n\u003cp>I’m also taken aback that these artists are playing the game of “America” by the rules, and getting into trouble for it. They’re literally practicing their first amendment rights, on a government-owned and operated public transportation system. Why is this even an issue?\u003c/p>\n\u003cp>BART is already dealing with real problems of overcrowding, fare evasion, maintenance and safety, both in and around its stations. Why add this to the list?\u003c/p>\n\u003cp>If anything, BART should be encouraging the arts. It’s what makes the Bay the Bay.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13856748/bart-turf-dancers-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">written before\u003c/a> about the culture on BART being a barometer of the Bay. Even as recently as this week, NBA star and East Oakland native Damian Lillard and talented East Oakland lyricist Brookfield Duece put out \u003ca href=\"https://www.youtube.com/watch?v=mP96O3iAQDM\" target=\"_blank\" rel=\"noopener noreferrer\">a video\u003c/a> spotlighting the culture of their neighborhood of Brookfield—including shots of people dancing on BART.\u003c/p>\n\u003cp>It’s a good thing.\u003c/p>\n\u003cp>Plus, it’s hard as hell to get up and speak, perform—hell, even exist—in front of other humans. Why condemn someone for defying the law of social gravity, and conjuring enough moxie to speak publicly?\u003c/p>\n\u003cp>[aside postID='arts_13923420']\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> like silence too, don’t get me wrong. I’m more of the type to be on BART and try to not make eye contact. Acting like the memes in my group chat are scientific studies demanding all of my attention. I see people on BART who I’ve interacted with on social media, and give them a head nod, and return to my phone, book or intense staring contest with the back of the seat in front of me.\u003c/p>\n\u003cp>In other words, I get it: Folks pay for a train ride home, not \u003cem>Showtime At The Apollo\u003c/em>. Sometimes it is a bit annoying to have unsolicited entertainment after a long day at your job. But you’ve got to understand: these performers are at their job too.\u003c/p>\n\u003cp>These are folks who’ve invested time into their craft. Folks who’ve gotten over their fear of public speaking. And folks who are asking for money, but more than that, they’re asking for an opportunity to be seen.\u003c/p>\n\u003cp>It’s unfortunate that all people looking for funds on BART cars and platforms get thrown into the same group. I mean, you’ve got to see the difference between the person playing Bach on a keyboard by the ticket machine and the person sloppy drunk and falling on you as they ask for spare change.\u003c/p>\n\u003cp>No knock against my intoxicated friend, but health-wise, I’ve got to ask if my contribution is going toward something that’s conducive to that individual’s health—let alone the impact it’ll have on the larger society. And yes, there are some people who get aggressive about asking for money. There should be something done so that people’s safety isn’t compromised in the midst of people’s public enterprise.\u003c/p>\n\u003cp>But if this is simply about being annoyed, how painful is it to have your podcast interrupted because you have to acknowledge economic disparity? You’ve paid for a train ride on public transportation. This is what’s going on “in the public.” The way I see it, this boils down to a simple question: in taking away other people’s freedom of speech, what are you gaining?\u003c/p>\n\u003cp>I called BART Director Allen, but as of press time did not get a response. When I called Tone Oliver, he said if the proposition passes, it would be “a huge step toward making the Bay Area more comfortable for people of certain demographics—you know: people with certain amounts of money.”\u003c/p>\n\u003cp>Over the phone, Oliver told me that the only reason the proposal exists is because of a handful of complaints. “But there are people who enjoy the shows, they just aren’t saying much,” he said. “So it’s important we get these other voices heard.”\u003c/p>\n\u003cp>With that in mind, on Friday, he plans to have performances by folks like rapper \u003ca href=\"https://www.instagram.com/younghumblebillionaire/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Money a.k.a. the Young Humble Billionaire\u003c/a>, a guitarist by the name of J Bird and a saxophonist, KJ Focus. And ahead of the event, Tone Oliver put out a new song, “\u003ca href=\"https://soundcloud.com/toneoliver/tone-oliver-alignment-prod-johnnyhyde/s-nmJA6\" target=\"_blank\" rel=\"noopener noreferrer\">Alignment\u003c/a>,” in which he shares a few bars about his recent profile in the \u003cem>Chronicle\u003c/em>.\u003c/p>\n\u003cp>Friday’s event will happen not too far from a mural dedicated to the life of Oscar Grant, unveiled earlier this year—a mural that BART’s \u003ca href=\"https://www.sfgate.com/bayarea/article/Social-media-post-by-BART-director-prompts-outcry-13448171.php\">Director Allen once questioned in a public Facebook post\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Correction: This post has been updated to more accurately describe BART Director Debora Allen’s questioning of the Oscar Grant mural at Fruitvale Station. An earlier version stated Director Allen opposed the mural.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This post has been updated.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o let me get this straight: BART, which is a public transportation entity, and a government-owned and operated system, is looking to stop people from performing for spare change within the paid areas of its stations?\u003c/p>\n\u003cp>While BART board members pretty much control how all of this will play out in the coming weeks, with a vote on the matter scheduled for October, many of those who perform on BART aren’t sitting around quietly about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Pen.Commentary.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>On Friday, Aug. 30, at 5pm at the Fruitvale BART station in Oakland, MC Tone Oliver is set to host an event called “\u003ca href=\"https://www.instagram.com/p/B1o0tFEgeh6/\" target=\"_blank\" rel=\"noopener noreferrer\">I Ride With Buskers\u003c/a>,” protesting the proposed ordinance that would ban busking or panhandling in the paid areas of BART property.\u003c/p>\n\u003cp>Although the proposal, introduced by BART Board Director Debora Allen, is far from a vote, let alone implementation, the conversation around her suggestion has ruffled a few feathers.\u003c/p>\n\u003cp>Allen officially announced the proposal last week, not too long after an article published in the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Rapper-Tone-Oliver-makes-up-to-200-a-day-on-14340819.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a> spotlighted Tone Oliver and others who perform on BART. In response to Allen’s announcement, people took to social media to voice their concerns. One user, whose tweet Allen retweeted, created \u003ca href=\"https://twitter.com/luckypalindrome/status/1163957604269191168?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">a survey\u003c/a> of BART riders’ concerns, which reportedly showed that \u003ca href=\"https://twitter.com/luckypalindrome/status/1164029318189572097?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">less than three percent\u003c/a> of those surveyed listed panhandling as a top concern. Of the 100 people surveyed, the majority said cleanliness on BART was the most major concern.\u003c/p>\n\u003cp>That’s the court of public opinion. In the real courts, attorney Abre’ Conner of the ACLU \u003ca href=\"https://www.aclunc.org/docs/2019.08.21_Letter_to_BART_Board_of_Directors.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">published a letter\u003c/a> stating that her organization would sue BART if the proposed ordinance were to pass, arguing it would violate people’s first amendment rights.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>ee, here’s the thing: Tone Oliver \u003cem>really\u003c/em> uses his free speech. In the traditional form, he gets on his soapbox and expresses himself. He’s not the only one. Tone is a part of a nice-sized roster of BART performers, who time their acts accordingly in between stops, so that they give unsuspecting audiences a brief introduction and short show; enough razzle-dazzle to entice them to cough up a few coins. And then the performers hop off the train or move on to the next car; all of it lasting no more than five minutes.\u003c/p>\n\u003cp>I’ve seen a few performances, not just by Tone, but by plenty others on BART, and honestly I’m amazed.\u003c/p>\n\u003cp>I’m amazed by the dancers hitting flips on BART’s handrails, and impressed that the rappers can rhyme while subject to the submarine pressure pushing on their eardrums as the train dips under the Bay and through the tunnel.\u003c/p>\n\u003cp>I’m also taken aback that these artists are playing the game of “America” by the rules, and getting into trouble for it. They’re literally practicing their first amendment rights, on a government-owned and operated public transportation system. Why is this even an issue?\u003c/p>\n\u003cp>BART is already dealing with real problems of overcrowding, fare evasion, maintenance and safety, both in and around its stations. Why add this to the list?\u003c/p>\n\u003cp>If anything, BART should be encouraging the arts. It’s what makes the Bay the Bay.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13856748/bart-turf-dancers-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">written before\u003c/a> about the culture on BART being a barometer of the Bay. Even as recently as this week, NBA star and East Oakland native Damian Lillard and talented East Oakland lyricist Brookfield Duece put out \u003ca href=\"https://www.youtube.com/watch?v=mP96O3iAQDM\" target=\"_blank\" rel=\"noopener noreferrer\">a video\u003c/a> spotlighting the culture of their neighborhood of Brookfield—including shots of people dancing on BART.\u003c/p>\n\u003cp>It’s a good thing.\u003c/p>\n\u003cp>Plus, it’s hard as hell to get up and speak, perform—hell, even exist—in front of other humans. Why condemn someone for defying the law of social gravity, and conjuring enough moxie to speak publicly?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> like silence too, don’t get me wrong. I’m more of the type to be on BART and try to not make eye contact. Acting like the memes in my group chat are scientific studies demanding all of my attention. I see people on BART who I’ve interacted with on social media, and give them a head nod, and return to my phone, book or intense staring contest with the back of the seat in front of me.\u003c/p>\n\u003cp>In other words, I get it: Folks pay for a train ride home, not \u003cem>Showtime At The Apollo\u003c/em>. Sometimes it is a bit annoying to have unsolicited entertainment after a long day at your job. But you’ve got to understand: these performers are at their job too.\u003c/p>\n\u003cp>These are folks who’ve invested time into their craft. Folks who’ve gotten over their fear of public speaking. And folks who are asking for money, but more than that, they’re asking for an opportunity to be seen.\u003c/p>\n\u003cp>It’s unfortunate that all people looking for funds on BART cars and platforms get thrown into the same group. I mean, you’ve got to see the difference between the person playing Bach on a keyboard by the ticket machine and the person sloppy drunk and falling on you as they ask for spare change.\u003c/p>\n\u003cp>No knock against my intoxicated friend, but health-wise, I’ve got to ask if my contribution is going toward something that’s conducive to that individual’s health—let alone the impact it’ll have on the larger society. And yes, there are some people who get aggressive about asking for money. There should be something done so that people’s safety isn’t compromised in the midst of people’s public enterprise.\u003c/p>\n\u003cp>But if this is simply about being annoyed, how painful is it to have your podcast interrupted because you have to acknowledge economic disparity? You’ve paid for a train ride on public transportation. This is what’s going on “in the public.” The way I see it, this boils down to a simple question: in taking away other people’s freedom of speech, what are you gaining?\u003c/p>\n\u003cp>I called BART Director Allen, but as of press time did not get a response. When I called Tone Oliver, he said if the proposition passes, it would be “a huge step toward making the Bay Area more comfortable for people of certain demographics—you know: people with certain amounts of money.”\u003c/p>\n\u003cp>Over the phone, Oliver told me that the only reason the proposal exists is because of a handful of complaints. “But there are people who enjoy the shows, they just aren’t saying much,” he said. “So it’s important we get these other voices heard.”\u003c/p>\n\u003cp>With that in mind, on Friday, he plans to have performances by folks like rapper \u003ca href=\"https://www.instagram.com/younghumblebillionaire/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Money a.k.a. the Young Humble Billionaire\u003c/a>, a guitarist by the name of J Bird and a saxophonist, KJ Focus. And ahead of the event, Tone Oliver put out a new song, “\u003ca href=\"https://soundcloud.com/toneoliver/tone-oliver-alignment-prod-johnnyhyde/s-nmJA6\" target=\"_blank\" rel=\"noopener noreferrer\">Alignment\u003c/a>,” in which he shares a few bars about his recent profile in the \u003cem>Chronicle\u003c/em>.\u003c/p>\n\u003cp>Friday’s event will happen not too far from a mural dedicated to the life of Oscar Grant, unveiled earlier this year—a mural that BART’s \u003ca href=\"https://www.sfgate.com/bayarea/article/Social-media-post-by-BART-director-prompts-outcry-13448171.php\">Director Allen once questioned in a public Facebook post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Correction: This post has been updated to more accurately describe BART Director Debora Allen’s questioning of the Oscar Grant mural at Fruitvale Station. An earlier version stated Director Allen opposed the mural.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "BART's Fare Evasion Crackdown Exposes the 'Deadly Elegance' of Hostile Design",
"headTitle": "BART’s Fare Evasion Crackdown Exposes the ‘Deadly Elegance’ of Hostile Design | KQED",
"content": "\u003cp>A city’s public architecture can tell you a lot about \u003ca href=\"https://www.atlasobscura.com/articles/the-subtle-design-features-that-make-cities-feel-more-hostile\" target=\"_blank\" rel=\"noopener\">what it thinks of its citizens\u003c/a>. Are the benches comfortable? Can I lay down here? Is there a place to sit while waiting for the bus? Urban planning provides tangible evidence of how a region grapples with some of its most pressing issues, whether that’s budget shortfalls or a crisis of livability.\u003c/p>\n\u003cp>Bay Area Rapid Transit is currently under fire for its pilot project aimed at preventing fare evaders from jumping through turnstiles with newly-installed modifications to gates at the Richmond and Fruitvale stations. The retrofitted gates, officially \u003ca href=\"https://www.bart.gov/about/bod/multimedia\" target=\"_blank\" rel=\"noopener\">presented\u003c/a> to BART’s board of directors as ‘Double-Decker’ and ‘Pop-Up’ modifications, have been derided as ‘\u003ca href=\"https://twitter.com/citizenkrans/status/1152340444597981184?s=21\" target=\"_blank\" rel=\"noopener\">skull-crushers\u003c/a>‘ and ‘inverted guillotine’ gates by riders on Twitter.\u003c/p>\n\u003cp>“I haven’t seen anything that even comes close to the overt hostility of these inverted guillotine prototypes,” says Kurt Kohlstedt, digital director and producer for the architecture and design podcast \u003ca href=\"https://99percentinvisible.org/author/kurt-kohlstedt/\" target=\"_blank\" rel=\"noopener\">\u003ci>99% Invisible\u003c/i>\u003c/a>. “Usually they try to hide it better! I’ve encountered a lot of hostile design, but this one really takes the cake.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/LinaBlanco/status/1152333254298521600\" target=\"_blank\" rel=\"noopener\">viral tweet\u003c/a> over the weekend, BART riders expressed their concerns over a recent fare-evasion modification pilot gate spotted at Fruitvale station. Many were quick to point out how the preventative effort is a disturbing example of anti-poor, anti-homeless and ableist design. Others called the prototypes an extreme example of hostile architecture.\u003c/p>\n\u003cp>https://twitter.com/AntonioDRAMsci/status/1152643674842570752\u003c/p>\n\u003cp>At its root, hostile or defensive architecture \u003ca href=\"https://99percentinvisible.org/episode/unpleasant-design-hostile-urban-architecture/\" target=\"_blank\" rel=\"noopener\">embodies the “anti.”\u003c/a> Whether it’s anti-litter, anti-skating, anti-sitting, anti-loitering or anti-fare evading, the goal of hostile design is to prevent a person or group from taking specific actions, relying on an object’s mass, edges, weight, and other defining characteristics to alter behavior.\u003c/p>\n\u003cp>San Francisco is \u003ca href=\"https://www.sfchronicle.com/entertainment/article/S-F-loves-anti-homeless-design-just-look-around-6147842.php\" target=\"_blank\" rel=\"noopener\">no stranger to hostile architecture\u003c/a> and is often toted as one of the most unfriendly cities for low-income and homeless populations. “A lot of the design, in general, these days is creating an environment where people who are marginalized are not welcome,” says Kelley Cutler, human rights organizer at the \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a>.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Kelley Cutler, Coalition on Homelessness']“A lot of the design, in general, these days is creating an environment where people who are marginalized are not welcome.”[/pullquote]\u003c/p>\n\u003cp>Rocks, spikes, restrictive benches, loud music and barricades are all obvious examples of hostile design, but Kohlstedt explains it can also be camouflaged. Spikes are obvious, but boulders aren’t. Metal blades are egregious, but classical music blaring outside of an establishment isn’t. Restrictive barriers are overt, but the absence of park benches, water fountains and public restrooms isn’t. “Hostile design can be not just the presence of something, but the absence,” he adds.\u003c/p>\n\u003cp>\u003ca href=\"https://www.vice.com/en_us/article/kzm53n/photos-of-the-most-egregious-anti-homeless-architecture\" target=\"_blank\" rel=\"noopener\">At its worst\u003c/a>, hostile design prevents society’s most vulnerable populations from finding sanctuary or rest, revealing a broader sentiment of how a city, landlords and residents feel and act towards unhoused communities.\u003c/p>\n\u003cp>Kohlstedt’s \u003ca href=\"https://99percentinvisible.org/episode/unpleasant-design-hostile-urban-architecture/\" target=\"_blank\" rel=\"noopener\">stories tackle both overt\u003c/a> and \u003ca href=\"https://99percentinvisible.org/article/unpleasant-design-disguise-bike-racks-boulders-defensive-urbanism/\" target=\"_blank\" rel=\"noopener\">discreet\u003c/a> hostilities fashioned by urban planners and developers around the world, but there’s plenty of examples right here in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13861964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861964 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design-800x600.jpg\" alt='A cafe on Larkin in the Tenderloin uses metal attachments to prevent people from sitting in an open windowsill. \"Being aware of hostile design helps people know what their city is interested in doing,\" says Kurt Kohlstedt.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A cafe on Larkin in the Tenderloin uses metal attachments to prevent people from sitting in an open windowsill. “Being aware of hostile design helps people know what their city is interested in doing,” says Kurt Kohlstedt. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861963\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861963 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design-800x600.jpg\" alt=\"A park bench with armrests off Market Street near Embarcadero BART Station. Hostile design is motivated by preventing a person or group from taking specific actions.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A park bench with armrests off Market Street near Embarcadero BART Station. Hostile design is motivated by preventing a person or group from taking specific actions. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861965 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/spikes-hostile-design-800x600.jpg\" alt=\"Spikes at the San Francisco courthouse that prevent people from sitting are an egregious example of hostile architecture.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/spikes-hostile-design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/spikes-hostile-design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/spikes-hostile-design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spikes at the San Francisco courthouse that prevent people from sitting are an egregious example of hostile architecture. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861960 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2-800x600.jpg\" alt=\"The plaza at the Phillip Burton Federal Building near Civic Center is a playground of hostile architecture. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaza at the Phillip Burton Federal Building near Civic Center is a playground of hostile architecture. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861962\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861962 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design-800x600.jpg\" alt=\"Don't let the flowers fool you. Angular steel stools installed on the plaza of Phillip Burton Federal Building prevent people from loitering.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t let the flowers fool you. Angular steel stools installed on the plaza of Phillip Burton Federal Building prevent people from loitering. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the more disturbing features of hostile urban design is its ability to camouflage its true purpose with aesthetics. Whimsical, modern benches with curvaceous lines might look inviting to a weary traveler, but they would never support a full night’s sleep. Similarly, armrests on a bench might seem like added comfort, not bars preventing anyone from laying down. Much of hostile architecture lives in a gray area, under the guise of a public amenity, but in practice functions as acts of aggression toward specific user groups.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Kurt Kohlstedt, 99% Invisible']“Hostile design can be not just the presence of something, but the absence.”[/pullquote]\u003c/p>\n\u003cp>BART engineers are tasked with a seemingly impossible design problem to prevent BART from losing $15 to $25 million in fare evasion within the confines of existing turnstile structures. Adding blades to turnstiles results in what Kohlstedt describes as a “deadly elegance.” At best, the patchwork hack might increase revenue by a few million dollars. Yet an underlying concern is that pilot programs like these could alienate riders from taking public transportation entirely.\u003c/p>\n\u003cp>When questioned about these concerns, BART Media Relations Manager James K. Allison shared that BART is currently participating in a 12-to-18 month means-based fare discount program starting in Fall 2019. The pilot program through the \u003ca href=\"https://mtc.ca.gov/our-work/plans-projects/other-plans/means-based-fare-discount-program\" target=\"_blank\" rel=\"noopener\">Metropolitan Transportation Commission\u003c/a> would provide eligible low-income riders a 20-percent fare discount aimed at addressing larger issues of affordability. However, \u003ca href=\"https://mtc.ca.gov/sites/default/files/Summary_MTC_Mean_Based_Overview_DRAFT_FINAL.pdf\" target=\"_blank\" rel=\"noopener\">eligibility requires\u003c/a> adults to submit documentation that proves income status or enrollment in low-income programs. Documentation of enrollment in low-income programs like Medi-Cal requires mailing addresses and working phone numbers, conditions that make it increasingly difficult for communities without stable housing to enroll.\u003c/p>\n\u003cp>In a statement, BART reiterated that their staff would never have installed pilot modifications if they believed these changes could potentially injure someone. BART maintains that no injuries have been reported at either Fruitvale or Richmond stations.\u003c/p>\n\u003cp>But riders and experts\u003ca href=\"https://twitter.com/RickPaulas/status/1152956103686336512\" target=\"_blank\" rel=\"noopener\"> aren’t convinced\u003c/a>.\u003c/p>\n\u003cp>“If there’s one positive thing I can say about them, it’s that they highlight just how hostile design can be,” says Kohlstedt. “Completely by accident and not by design at all, they’re proving to be a really good awareness-raising device.”\u003c/p>\n\u003cp>The old adage goes: Once you see it, you can’t unsee it. And maybe that’s the success of BART’s fare-evasion pilot program. “Being aware of hostile design helps people know what their city is interested in doing and the ability for them to decide if they agree with what their city is interested in doing,” adds Kohlstedt.\u003c/p>\n\u003cp>So next time you find yourself walking through your city, look around and see how many examples of \u003ca href=\"https://twitter.com/TheCoalitionSF/status/1063520168792416256\" target=\"_blank\" rel=\"noopener\">hostile design\u003c/a> you can find.\u003c/p>\n\u003cp>The results may surprise you.\u003c/p>\n\u003cp>\u003cem>This interactive map of San Francisco’s Hostile Design was produced by Heidi Loosen of UC Berkeley in partnership with the SF Coalition on Homelessness. \u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"600\" frameborder=\"0\" scrolling=\"no\" src=\"//www.arcgis.com/apps/Embed/index.html?webmap=f0f50401077243de8e55dd03332466b5&extent=-122.5463,37.6993,-122.2928,37.8157&zoom=true&previewImage=false&scale=true&disable_scroll=true&theme=light\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A city’s public architecture can tell you a lot about \u003ca href=\"https://www.atlasobscura.com/articles/the-subtle-design-features-that-make-cities-feel-more-hostile\" target=\"_blank\" rel=\"noopener\">what it thinks of its citizens\u003c/a>. Are the benches comfortable? Can I lay down here? Is there a place to sit while waiting for the bus? Urban planning provides tangible evidence of how a region grapples with some of its most pressing issues, whether that’s budget shortfalls or a crisis of livability.\u003c/p>\n\u003cp>Bay Area Rapid Transit is currently under fire for its pilot project aimed at preventing fare evaders from jumping through turnstiles with newly-installed modifications to gates at the Richmond and Fruitvale stations. The retrofitted gates, officially \u003ca href=\"https://www.bart.gov/about/bod/multimedia\" target=\"_blank\" rel=\"noopener\">presented\u003c/a> to BART’s board of directors as ‘Double-Decker’ and ‘Pop-Up’ modifications, have been derided as ‘\u003ca href=\"https://twitter.com/citizenkrans/status/1152340444597981184?s=21\" target=\"_blank\" rel=\"noopener\">skull-crushers\u003c/a>‘ and ‘inverted guillotine’ gates by riders on Twitter.\u003c/p>\n\u003cp>“I haven’t seen anything that even comes close to the overt hostility of these inverted guillotine prototypes,” says Kurt Kohlstedt, digital director and producer for the architecture and design podcast \u003ca href=\"https://99percentinvisible.org/author/kurt-kohlstedt/\" target=\"_blank\" rel=\"noopener\">\u003ci>99% Invisible\u003c/i>\u003c/a>. “Usually they try to hide it better! I’ve encountered a lot of hostile design, but this one really takes the cake.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/LinaBlanco/status/1152333254298521600\" target=\"_blank\" rel=\"noopener\">viral tweet\u003c/a> over the weekend, BART riders expressed their concerns over a recent fare-evasion modification pilot gate spotted at Fruitvale station. Many were quick to point out how the preventative effort is a disturbing example of anti-poor, anti-homeless and ableist design. Others called the prototypes an extreme example of hostile architecture.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>At its root, hostile or defensive architecture \u003ca href=\"https://99percentinvisible.org/episode/unpleasant-design-hostile-urban-architecture/\" target=\"_blank\" rel=\"noopener\">embodies the “anti.”\u003c/a> Whether it’s anti-litter, anti-skating, anti-sitting, anti-loitering or anti-fare evading, the goal of hostile design is to prevent a person or group from taking specific actions, relying on an object’s mass, edges, weight, and other defining characteristics to alter behavior.\u003c/p>\n\u003cp>San Francisco is \u003ca href=\"https://www.sfchronicle.com/entertainment/article/S-F-loves-anti-homeless-design-just-look-around-6147842.php\" target=\"_blank\" rel=\"noopener\">no stranger to hostile architecture\u003c/a> and is often toted as one of the most unfriendly cities for low-income and homeless populations. “A lot of the design, in general, these days is creating an environment where people who are marginalized are not welcome,” says Kelley Cutler, human rights organizer at the \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“A lot of the design, in general, these days is creating an environment where people who are marginalized are not welcome.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rocks, spikes, restrictive benches, loud music and barricades are all obvious examples of hostile design, but Kohlstedt explains it can also be camouflaged. Spikes are obvious, but boulders aren’t. Metal blades are egregious, but classical music blaring outside of an establishment isn’t. Restrictive barriers are overt, but the absence of park benches, water fountains and public restrooms isn’t. “Hostile design can be not just the presence of something, but the absence,” he adds.\u003c/p>\n\u003cp>\u003ca href=\"https://www.vice.com/en_us/article/kzm53n/photos-of-the-most-egregious-anti-homeless-architecture\" target=\"_blank\" rel=\"noopener\">At its worst\u003c/a>, hostile design prevents society’s most vulnerable populations from finding sanctuary or rest, revealing a broader sentiment of how a city, landlords and residents feel and act towards unhoused communities.\u003c/p>\n\u003cp>Kohlstedt’s \u003ca href=\"https://99percentinvisible.org/episode/unpleasant-design-hostile-urban-architecture/\" target=\"_blank\" rel=\"noopener\">stories tackle both overt\u003c/a> and \u003ca href=\"https://99percentinvisible.org/article/unpleasant-design-disguise-bike-racks-boulders-defensive-urbanism/\" target=\"_blank\" rel=\"noopener\">discreet\u003c/a> hostilities fashioned by urban planners and developers around the world, but there’s plenty of examples right here in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13861964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861964 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design-800x600.jpg\" alt='A cafe on Larkin in the Tenderloin uses metal attachments to prevent people from sitting in an open windowsill. \"Being aware of hostile design helps people know what their city is interested in doing,\" says Kurt Kohlstedt.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Round_Hostile-Design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A cafe on Larkin in the Tenderloin uses metal attachments to prevent people from sitting in an open windowsill. “Being aware of hostile design helps people know what their city is interested in doing,” says Kurt Kohlstedt. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861963\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861963 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design-800x600.jpg\" alt=\"A park bench with armrests off Market Street near Embarcadero BART Station. Hostile design is motivated by preventing a person or group from taking specific actions.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/ParkBench-Hostile-Design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A park bench with armrests off Market Street near Embarcadero BART Station. Hostile design is motivated by preventing a person or group from taking specific actions. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861965 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/spikes-hostile-design-800x600.jpg\" alt=\"Spikes at the San Francisco courthouse that prevent people from sitting are an egregious example of hostile architecture.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/spikes-hostile-design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/spikes-hostile-design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/spikes-hostile-design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spikes at the San Francisco courthouse that prevent people from sitting are an egregious example of hostile architecture. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861960 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2-800x600.jpg\" alt=\"The plaza at the Phillip Burton Federal Building near Civic Center is a playground of hostile architecture. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Burton-Bench-Hostile-Design-2-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaza at the Phillip Burton Federal Building near Civic Center is a playground of hostile architecture. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13861962\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13861962 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design-800x600.jpg\" alt=\"Don't let the flowers fool you. Angular steel stools installed on the plaza of Phillip Burton Federal Building prevent people from loitering.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/metal-seats-hostile-design-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t let the flowers fool you. Angular steel stools installed on the plaza of Phillip Burton Federal Building prevent people from loitering. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the more disturbing features of hostile urban design is its ability to camouflage its true purpose with aesthetics. Whimsical, modern benches with curvaceous lines might look inviting to a weary traveler, but they would never support a full night’s sleep. Similarly, armrests on a bench might seem like added comfort, not bars preventing anyone from laying down. Much of hostile architecture lives in a gray area, under the guise of a public amenity, but in practice functions as acts of aggression toward specific user groups.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>BART engineers are tasked with a seemingly impossible design problem to prevent BART from losing $15 to $25 million in fare evasion within the confines of existing turnstile structures. Adding blades to turnstiles results in what Kohlstedt describes as a “deadly elegance.” At best, the patchwork hack might increase revenue by a few million dollars. Yet an underlying concern is that pilot programs like these could alienate riders from taking public transportation entirely.\u003c/p>\n\u003cp>When questioned about these concerns, BART Media Relations Manager James K. Allison shared that BART is currently participating in a 12-to-18 month means-based fare discount program starting in Fall 2019. The pilot program through the \u003ca href=\"https://mtc.ca.gov/our-work/plans-projects/other-plans/means-based-fare-discount-program\" target=\"_blank\" rel=\"noopener\">Metropolitan Transportation Commission\u003c/a> would provide eligible low-income riders a 20-percent fare discount aimed at addressing larger issues of affordability. However, \u003ca href=\"https://mtc.ca.gov/sites/default/files/Summary_MTC_Mean_Based_Overview_DRAFT_FINAL.pdf\" target=\"_blank\" rel=\"noopener\">eligibility requires\u003c/a> adults to submit documentation that proves income status or enrollment in low-income programs. Documentation of enrollment in low-income programs like Medi-Cal requires mailing addresses and working phone numbers, conditions that make it increasingly difficult for communities without stable housing to enroll.\u003c/p>\n\u003cp>In a statement, BART reiterated that their staff would never have installed pilot modifications if they believed these changes could potentially injure someone. BART maintains that no injuries have been reported at either Fruitvale or Richmond stations.\u003c/p>\n\u003cp>But riders and experts\u003ca href=\"https://twitter.com/RickPaulas/status/1152956103686336512\" target=\"_blank\" rel=\"noopener\"> aren’t convinced\u003c/a>.\u003c/p>\n\u003cp>“If there’s one positive thing I can say about them, it’s that they highlight just how hostile design can be,” says Kohlstedt. “Completely by accident and not by design at all, they’re proving to be a really good awareness-raising device.”\u003c/p>\n\u003cp>The old adage goes: Once you see it, you can’t unsee it. And maybe that’s the success of BART’s fare-evasion pilot program. “Being aware of hostile design helps people know what their city is interested in doing and the ability for them to decide if they agree with what their city is interested in doing,” adds Kohlstedt.\u003c/p>\n\u003cp>So next time you find yourself walking through your city, look around and see how many examples of \u003ca href=\"https://twitter.com/TheCoalitionSF/status/1063520168792416256\" target=\"_blank\" rel=\"noopener\">hostile design\u003c/a> you can find.\u003c/p>\n\u003cp>The results may surprise you.\u003c/p>\n\u003cp>\u003cem>This interactive map of San Francisco’s Hostile Design was produced by Heidi Loosen of UC Berkeley in partnership with the SF Coalition on Homelessness. \u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"600\" frameborder=\"0\" scrolling=\"no\" src=\"//www.arcgis.com/apps/Embed/index.html?webmap=f0f50401077243de8e55dd03332466b5&extent=-122.5463,37.6993,-122.2928,37.8157&zoom=true&previewImage=false&scale=true&disable_scroll=true&theme=light\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week, BART was under fire again, as an \u003ca href=\"https://www.kqed.org/news/11744106/bart-releases-report-with-new-details-of-officers-roles-in-oscar-grant-killing\">investigation into what truly occurred\u003c/a> leading up to the shooting of Oscar Grant by former BART officer Johannes Mehserle on the morning of Jan. 1, 2009 was made public.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Meanwhile, in the same week, the culture within BART’s car doors got some shine by Oakland-based rap trio \u003ca href=\"https://www.treycoastal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trey Coastal\u003c/a> as they dropped their single “\u003ca href=\"https://www.youtube.com/watch?v=G_nN5O2EZcE&feature=youtu.be\">End Of The Line\u003c/a>“—an ode to the folks who dance on BART.\u003c/p>\n\u003cp>Granted, the revelations around Grant’s killing and the music video are mostly unrelated. But after reading the news report and then watching the music video, it hit me: BART is essentially one big 121-mile, 1000-volt barometer of the Bay Area’s culture.\u003c/p>\n\u003cp>BART is \u003ca href=\"//www.bart.gov/sites/default/files/docs/2018_BART%20Factsheet.pdf\">a big deal\u003c/a>: 679 trains that take riders from 48 different stations on over 126 million trips annually. Just last year, \u003ca href=\"https://www.kqed.org/news/11689230/assembly-votes-to-send-bart-development-bill-to-governor\">Governor Brown approved a bill\u003c/a> allowing BART to develop land around their stations for higher-density housing. And in 2016, BART got a \u003ca href=\"https://www.bart.gov/news/articles/2016/news20161013\">$3.5 billion bond\u003c/a> through the voter-passed Measure RR, aimed at rebuilding and maintaining key aspects of the system’s infrastructure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Around that same time, BART was found to have an overwhelming amount of \u003ca href=\"https://www.sfgate.com/crime/article/BART-admits-77-percent-of-train-cameras-are-fake-6818459.php\">non-functioning cameras\u003c/a>, which adds to the fear some riders have around safety, especially considering the amount of crime on BART property. Two months ago, a teenage girl was \u003ca href=\"https://www.sfchronicle.com/crime/article/Woman-killed-in-shooting-at-West-Oakland-BART-13726137.php\">shot at West Oakland BART\u003c/a>; in July of last year, a woman was \u003ca href=\"https://www.eastbaytimes.com/2018/07/28/woman-recently-released-from-santa-rita-jail-found-dead-in-dublin-bart/\">killed at Pleasanton BART\u003c/a>; and of course, last year, the heinous \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\">murder of Nia Wilson\u003c/a> occurred on a platform at MacArthur BART.\u003c/p>\n\u003cp>Add that to the somewhat comical but obviously classist \u003ca href=\"https://www.youtube.com/watch?v=W2cQlejay3M\">video\u003c/a> of the guy calling the cops on someone for eating on the train, plus news reports about “\u003ca href=\"https://www.youtube.com/watch?v=5gT5NULvRSk\">junkies taking over the Civic Center station\u003c/a>,” and rumors about \u003ca href=\"http://cbslocal.com/2018/02/22/bart-considers-constructing-second-transbay-tube/\">burrowing another Transbay Tube\u003c/a> because the current system is at capacity, and you can see why I say: where BART goes, the Bay goes.\u003c/p>\n\u003cfigure id=\"attachment_13856838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers1-800x409.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-768x393.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-1020x522.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1.jpg 1065w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut before last week, I don’t think I’ve ever taken a moment to really appreciate how much BART reflects the Bay as a whole. From the \u003ca href=\"https://eastbaysol.files.wordpress.com/2014/01/evict-this1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1950s photos\u003c/a> of the state taking people’s property under eminent domain to construct West Oakland BART to the \u003ca href=\"https://www.sfchronicle.com/oursf/article/Nixon-s-futuristic-BART-ride-It-does-look-7025172.php#photo-9691143\">photos of President Nixon\u003c/a> riding the newly opened BART in 1972, it’s all a sign of the times. Even BART’s recent expansion into Antioch and Silicon Valley reflects the population growth and lack of affordable housing in traditional city centers.\u003c/p>\n\u003cp>People dressed in wild costumes headed to Bay To Breakers show the Bay Area’s kooky-creative side. The \u003ca href=\"https://www.youtube.com/watch?v=j_2RRapKxeg\">protests that blocked the trains on Black Friday in 2014\u003c/a> show the Bay Area’s strong political will. And although the shooting of Oscar Grant was over 10 years ago, the new revelations around that case illustrate the importance of AB 1421, the police transparency bill.\u003c/p>\n\u003cp>So when I see Trey Coastal’s song dedicated to the dancers who use BART as their stage, I can’t help but also see the significance in something some see as mundane.\u003c/p>\n\u003cp>“That’s what makes it so special,” says Anshil Popli, the director of photography on Trey Coastal’s video. “BART is something that we take every day… dancing is a huge part of that. It’s one of those things we look past every day, but to have that on video makes it special to me.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G_nN5O2EZcE\u003c/p>\n\u003cp>Popli tells me he was blown away at some of the responses he got at certain stops while filming. “I call them ‘white stops’—places where you know you’re going to see an upscale crowd in a changing Oakland. To bring back something that’s so simple, art in its rarest form, is what it’s about,” says Popli. “And the people I thought wouldn’t appreciate the dancing and the music actually did. Man, we live in a strange time. It’s good to see that art alleviates the pain.”\u003c/p>\n\u003cp>For some, BART dancers are artwork. For others, they’re annoying. And to BART officers, dancing for money on BART is illegal.\u003c/p>\n\u003cp>The issues around BART dancers aren’t new. Five years ago, \u003ca href=\"https://postnewsgroup.com/2014/04/25/girl-suspected-dancing-bart-arrested-assaulted-officer/\">Nubia Bowe\u003c/a> was abused and aggressively arrested for reportedly dancing on BART and soliciting money. I’ve personally seen people dancing on BART since the years when base fare was $1.10. It’s part of a long tradition, and part of the larger picture of artists navigating the Bay’s high cost of living.\u003c/p>\n\u003cp>“Dancing on BART been poppin’ since I was in high school,” says “End of the Line” director Noah Coogler. “Every time I look at the video, I think we captured a piece of history.”\u003c/p>\n\u003cp>Coogler, the brother of director Ryan Coogler, says they shot the dance routines in about three hours. “While we were there, I felt like nobody felt off-put… I even saw a couple of white folks give out dubs,” Coogler tells me.\u003c/p>\n\u003cfigure id=\"attachment_13856839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers2-800x408.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-800x408.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-768x392.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-1020x520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2.jpg 1069w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yung Phil, one of the dancers in Trey Coastal’s video (as well as several other Bay Area music videos, including KQED’s recently released \u003ca href=\"https://vimeo.com/333239269\">\u003cem>If Cities Could Dance: Oakland\u003c/em>\u003c/a>), tells me the reception on BART is about 50/50. And even with his success in videos, he still regularly gets on trains and performs. “It’s like representing the culture, the underground culture that the Bay has,” he says.\u003c/p>\n\u003cp>Yung Phil also explains that there’s a safety aspect to dancers on BART. “The fact that we dance, it takes people’s minds off of being so tense, or thinking that someone is going to run up and rob them,” he says. (I hadn’t thought about it before, but as people film the dancers, it doubles as a surveillance mechanism.)\u003c/p>\n\u003cp>You can look into a train car on any given day and see the nationalities of the local population, the fashion of the time and even the technology of the age. BART is a microcosm of us, a crystal ball of change: in 2019, AirPods show our attachment to detachment, and cashless tickets show our momentum toward digital currency.\u003c/p>\n\u003cp>That said, there’s also things like Marshawn Lynch and Marcus Peters \u003ca href=\"https://www.youtube.com/watch?v=R_vv7IufrnU\" target=\"_blank\" rel=\"noopener noreferrer\">riding BART back from the Coliseum\u003c/a> after a Thursday night Raiders game. A prime example that it’s possible to keep it lit for the Town, even when the Town is changing.\u003c/p>\n\u003cfigure id=\"attachment_13856841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers4-800x411.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-800x411.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-1020x524.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/IMG_0640.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">a photo\u003c/a> of Trey Coastal in Oakland, sitting on a BART platform. The image has become a special one: it was captured by \u003ca href=\"https://www.mercedsunstar.com/sports/article229958344.html\">Shawn Washington\u003c/a>, a friend of the crew and talented photographer from the Bay. Washington \u003ca href=\"https://www.mercedsunstar.com/sports/article229958344.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently passed\u003c/a>, and now the photo is a snapshot of the group’s moment in time with their friend.\u003c/p>\n\u003cp>Cam Moss, one-third of the Trey Coastal crew, tells me that the intention behind “End Of The Line” is to exude Bay Area pride. When asked about BART dancing seen a nuisance, Moss says that the dancers are “young cats that are out here, expressing themselves and not harming you in any way. This art. This is the same thing as going to museum and seeing a painting.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Adds Moss: “Some people may look down on public transportation, but that’s really where it all starts.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week, BART was under fire again, as an \u003ca href=\"https://www.kqed.org/news/11744106/bart-releases-report-with-new-details-of-officers-roles-in-oscar-grant-killing\">investigation into what truly occurred\u003c/a> leading up to the shooting of Oscar Grant by former BART officer Johannes Mehserle on the morning of Jan. 1, 2009 was made public.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Meanwhile, in the same week, the culture within BART’s car doors got some shine by Oakland-based rap trio \u003ca href=\"https://www.treycoastal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trey Coastal\u003c/a> as they dropped their single “\u003ca href=\"https://www.youtube.com/watch?v=G_nN5O2EZcE&feature=youtu.be\">End Of The Line\u003c/a>“—an ode to the folks who dance on BART.\u003c/p>\n\u003cp>Granted, the revelations around Grant’s killing and the music video are mostly unrelated. But after reading the news report and then watching the music video, it hit me: BART is essentially one big 121-mile, 1000-volt barometer of the Bay Area’s culture.\u003c/p>\n\u003cp>BART is \u003ca href=\"//www.bart.gov/sites/default/files/docs/2018_BART%20Factsheet.pdf\">a big deal\u003c/a>: 679 trains that take riders from 48 different stations on over 126 million trips annually. Just last year, \u003ca href=\"https://www.kqed.org/news/11689230/assembly-votes-to-send-bart-development-bill-to-governor\">Governor Brown approved a bill\u003c/a> allowing BART to develop land around their stations for higher-density housing. And in 2016, BART got a \u003ca href=\"https://www.bart.gov/news/articles/2016/news20161013\">$3.5 billion bond\u003c/a> through the voter-passed Measure RR, aimed at rebuilding and maintaining key aspects of the system’s infrastructure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Around that same time, BART was found to have an overwhelming amount of \u003ca href=\"https://www.sfgate.com/crime/article/BART-admits-77-percent-of-train-cameras-are-fake-6818459.php\">non-functioning cameras\u003c/a>, which adds to the fear some riders have around safety, especially considering the amount of crime on BART property. Two months ago, a teenage girl was \u003ca href=\"https://www.sfchronicle.com/crime/article/Woman-killed-in-shooting-at-West-Oakland-BART-13726137.php\">shot at West Oakland BART\u003c/a>; in July of last year, a woman was \u003ca href=\"https://www.eastbaytimes.com/2018/07/28/woman-recently-released-from-santa-rita-jail-found-dead-in-dublin-bart/\">killed at Pleasanton BART\u003c/a>; and of course, last year, the heinous \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\">murder of Nia Wilson\u003c/a> occurred on a platform at MacArthur BART.\u003c/p>\n\u003cp>Add that to the somewhat comical but obviously classist \u003ca href=\"https://www.youtube.com/watch?v=W2cQlejay3M\">video\u003c/a> of the guy calling the cops on someone for eating on the train, plus news reports about “\u003ca href=\"https://www.youtube.com/watch?v=5gT5NULvRSk\">junkies taking over the Civic Center station\u003c/a>,” and rumors about \u003ca href=\"http://cbslocal.com/2018/02/22/bart-considers-constructing-second-transbay-tube/\">burrowing another Transbay Tube\u003c/a> because the current system is at capacity, and you can see why I say: where BART goes, the Bay goes.\u003c/p>\n\u003cfigure id=\"attachment_13856838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers1-800x409.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-768x393.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-1020x522.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1.jpg 1065w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut before last week, I don’t think I’ve ever taken a moment to really appreciate how much BART reflects the Bay as a whole. From the \u003ca href=\"https://eastbaysol.files.wordpress.com/2014/01/evict-this1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1950s photos\u003c/a> of the state taking people’s property under eminent domain to construct West Oakland BART to the \u003ca href=\"https://www.sfchronicle.com/oursf/article/Nixon-s-futuristic-BART-ride-It-does-look-7025172.php#photo-9691143\">photos of President Nixon\u003c/a> riding the newly opened BART in 1972, it’s all a sign of the times. Even BART’s recent expansion into Antioch and Silicon Valley reflects the population growth and lack of affordable housing in traditional city centers.\u003c/p>\n\u003cp>People dressed in wild costumes headed to Bay To Breakers show the Bay Area’s kooky-creative side. The \u003ca href=\"https://www.youtube.com/watch?v=j_2RRapKxeg\">protests that blocked the trains on Black Friday in 2014\u003c/a> show the Bay Area’s strong political will. And although the shooting of Oscar Grant was over 10 years ago, the new revelations around that case illustrate the importance of AB 1421, the police transparency bill.\u003c/p>\n\u003cp>So when I see Trey Coastal’s song dedicated to the dancers who use BART as their stage, I can’t help but also see the significance in something some see as mundane.\u003c/p>\n\u003cp>“That’s what makes it so special,” says Anshil Popli, the director of photography on Trey Coastal’s video. “BART is something that we take every day… dancing is a huge part of that. It’s one of those things we look past every day, but to have that on video makes it special to me.”\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/G_nN5O2EZcE'\n title='//www.youtube.com/embed/G_nN5O2EZcE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Popli tells me he was blown away at some of the responses he got at certain stops while filming. “I call them ‘white stops’—places where you know you’re going to see an upscale crowd in a changing Oakland. To bring back something that’s so simple, art in its rarest form, is what it’s about,” says Popli. “And the people I thought wouldn’t appreciate the dancing and the music actually did. Man, we live in a strange time. It’s good to see that art alleviates the pain.”\u003c/p>\n\u003cp>For some, BART dancers are artwork. For others, they’re annoying. And to BART officers, dancing for money on BART is illegal.\u003c/p>\n\u003cp>The issues around BART dancers aren’t new. Five years ago, \u003ca href=\"https://postnewsgroup.com/2014/04/25/girl-suspected-dancing-bart-arrested-assaulted-officer/\">Nubia Bowe\u003c/a> was abused and aggressively arrested for reportedly dancing on BART and soliciting money. I’ve personally seen people dancing on BART since the years when base fare was $1.10. It’s part of a long tradition, and part of the larger picture of artists navigating the Bay’s high cost of living.\u003c/p>\n\u003cp>“Dancing on BART been poppin’ since I was in high school,” says “End of the Line” director Noah Coogler. “Every time I look at the video, I think we captured a piece of history.”\u003c/p>\n\u003cp>Coogler, the brother of director Ryan Coogler, says they shot the dance routines in about three hours. “While we were there, I felt like nobody felt off-put… I even saw a couple of white folks give out dubs,” Coogler tells me.\u003c/p>\n\u003cfigure id=\"attachment_13856839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers2-800x408.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-800x408.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-768x392.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-1020x520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2.jpg 1069w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yung Phil, one of the dancers in Trey Coastal’s video (as well as several other Bay Area music videos, including KQED’s recently released \u003ca href=\"https://vimeo.com/333239269\">\u003cem>If Cities Could Dance: Oakland\u003c/em>\u003c/a>), tells me the reception on BART is about 50/50. And even with his success in videos, he still regularly gets on trains and performs. “It’s like representing the culture, the underground culture that the Bay has,” he says.\u003c/p>\n\u003cp>Yung Phil also explains that there’s a safety aspect to dancers on BART. “The fact that we dance, it takes people’s minds off of being so tense, or thinking that someone is going to run up and rob them,” he says. (I hadn’t thought about it before, but as people film the dancers, it doubles as a surveillance mechanism.)\u003c/p>\n\u003cp>You can look into a train car on any given day and see the nationalities of the local population, the fashion of the time and even the technology of the age. BART is a microcosm of us, a crystal ball of change: in 2019, AirPods show our attachment to detachment, and cashless tickets show our momentum toward digital currency.\u003c/p>\n\u003cp>That said, there’s also things like Marshawn Lynch and Marcus Peters \u003ca href=\"https://www.youtube.com/watch?v=R_vv7IufrnU\" target=\"_blank\" rel=\"noopener noreferrer\">riding BART back from the Coliseum\u003c/a> after a Thursday night Raiders game. A prime example that it’s possible to keep it lit for the Town, even when the Town is changing.\u003c/p>\n\u003cfigure id=\"attachment_13856841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers4-800x411.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-800x411.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-1020x524.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/IMG_0640.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">a photo\u003c/a> of Trey Coastal in Oakland, sitting on a BART platform. The image has become a special one: it was captured by \u003ca href=\"https://www.mercedsunstar.com/sports/article229958344.html\">Shawn Washington\u003c/a>, a friend of the crew and talented photographer from the Bay. Washington \u003ca href=\"https://www.mercedsunstar.com/sports/article229958344.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently passed\u003c/a>, and now the photo is a snapshot of the group’s moment in time with their friend.\u003c/p>\n\u003cp>Cam Moss, one-third of the Trey Coastal crew, tells me that the intention behind “End Of The Line” is to exude Bay Area pride. When asked about BART dancing seen a nuisance, Moss says that the dancers are “young cats that are out here, expressing themselves and not harming you in any way. This art. This is the same thing as going to museum and seeing a painting.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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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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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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