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"content": "\u003cp>Every second Saturday in Southeast San Francisco, over a dozen organizations come together to offer much-needed resources to residents of the surrounding neighborhood.\u003c/p>\n\u003cp>At the \u003ca href=\"https://popupvillage.org/\" target=\"_blank\" rel=\"noopener\">Pop-Up Village\u003c/a>, vendors teach healthy recipes and supply the ingredients so folks can make the meals at home. Dental care practitioners and physical therapists offer care and consultations, and barbers give fresh fades and line-ups.\u003c/p>\n\u003cp>Topics of violence prevention and civic responsibility are covered by Uncle Damien of the community action organization \u003ca href=\"https://www.us4usbayarea.org/\" target=\"_blank\" rel=\"noopener\">Us4Us\u003c/a>. And representatives from the \u003ca href=\"https://sfdec.org/\">San Francisco Department of Early Childhood\u003c/a>, as well as members from Tachelle Herron’s \u003ca href=\"https://www.aintiascholar.org/\" target=\"_blank\" rel=\"noopener\">Ain’t I A Scholar\u003c/a> organization, assist with a Youth Future Zone.\u003c/p>\n\u003cfigure id=\"attachment_13955709\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955709\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861.jpg\" alt=\"Chef Will B of WillBHealthy at the Pop-Up Village holds up a piece of fresh produce during a recent gathering.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chef Will B of WillBHealthy at the Pop-Up Village holds up a piece of fresh produce during a recent gathering. \u003ccite>(via The Pop-Up Village)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a constellation of resources,” says KaSelah Crockett, event organizer and head of the nonprofit organizations \u003ca href=\"https://www.compassandkeys.org/\" target=\"_blank\" rel=\"noopener\">Compass & Keys\u003c/a> and the Pop-Up Village’s umbrella organization.\u003c/p>\n\u003cp>This resource pop-up has been held for over seven years at various sites in Oakland and San Francisco. This year’s spring series will be hosted at the \u003ca href=\"https://sfpuc.org/learning/come-visit/southeast-community-center\" target=\"_blank\" rel=\"noopener\">Southeast Community Center\u003c/a> (SECC) at 1550 Evans Ave. in San Francisco, just off Third Street, between the Dogpatch and Hunters Point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Saturday, April 13, in addition to farmers, poets and medical workers, there will be a special focus on reproductive health. April 11 through April 17 is known as Black Maternal Health Week; the week-long campaign, founded by the \u003ca href=\"https://blackmamasmatter.org/bmhw-2024/\">Black Mamas Matter Alliance\u003c/a>, was officially recognized by the federal government last April in \u003ca href=\"https://www.hhs.gov/about/news/2023/04/13/hhs-celebrates-black-maternal-health-week-2023.html\">an official proclamation by President Biden\u003c/a>.\u003c/p>\n\u003cp>The week is a reminder of the inequities in reproductive health. In the United States, African Americans who give birth face a nearly 50% higher rate of \u003ca href=\"https://www.cdc.gov/reproductivehealth/maternalinfanthealth/pretermbirth.htm\" target=\"_blank\" rel=\"noopener\">preterm birth\u003c/a> than white or Hispanic birthing parents; that’s in addition to other health concerns, including higher rates of cervical cancer and postpartum disorder.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/07/05/1186019422/the-black-maternal-mortality-crisis-and-why-it-remains-an-issue\" target=\"_blank\" rel=\"noopener\">These kind of disparities have been evident\u003c/a> since officials started tracking reproductive health statistics nearly 100 years ago, and were \u003ca href=\"https://www.cdc.gov/nchs/data/hestat/maternal-mortality/2021/maternal-mortality-rates-2021.htm\">exacerbated by the pandemic\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13955710\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-scaled.jpg\" alt=\"EBlendz da Barber offers free haircuts to people at the Pop-Up Village.\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">EBlendz da Barber offers free haircuts to people at the Pop-Up Village. \u003ccite>(via The Pop-Up Village)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, the national numbers around reproductive health are mirrored \u003ca href=\"https://www.sf.gov/perinatal-equity-initiative\" target=\"_blank\" rel=\"noopener\">in San Francisco\u003c/a>.\u003c/p>\n\u003cp>“This month we’re focused on Black maternal health, and we have a bunch of vendors coming out,” says Crockett. The list includes the UCSF-supported \u003ca href=\"https://popupvillage.org/partner/san-francisco-respect-initiative-sfri/\" target=\"_blank\" rel=\"noopener\">SF Respect Initiative\u003c/a> and \u003ca href=\"https://pretermbirthca.ucsf.edu/expecting-justice\" target=\"_blank\" rel=\"noopener\">Expecting Justice\u003c/a>, as well as \u003ca href=\"https://birthcompanionscommunitycenter.org/\" target=\"_blank\" rel=\"noopener\">Birth Companions Community Center\u003c/a>, the \u003ca href=\"https://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a> and others.\u003c/p>\n\u003cp>The presence of organizations such as \u003ca href=\"https://www.thebutterflymovement.com/#/\" target=\"_blank\" rel=\"noopener\">The Butterfly Movement\u003c/a> indicates how reproductive health is about more than giving birth — it’s also about empowerment and economic justice. Led by Executive Director Haile Shaver, as well as CEO and National Director Brandi Mack (who also co-created the Pop-Up Village), the organization brings another layer to the issue: economic sustainability.\u003c/p>\n\u003cp>“This network is a generative economic tool,” says Crockett. “It allows us to be supported, and be in support of one another.”\u003c/p>\n\u003cp>With a background in counseling psychology and family & marriage therapy, Crockett has approached the work of community health from a few different angles. But she believes true healing, and even preventive measures, can come simply with being connected to the neighborhood you’re serving and bringing the resources to the peoples’ doorsteps.\u003c/p>\n\u003cp>She adds that the Pop-Up Village serves as a place to check in, have healthy conversations and even address some heavier topics in a way that’s uplifting and respectful.\u003c/p>\n\u003cp>She sees health not just as a matter of providing care — it’s also a matter of neighbors knowing each other, sharing resources and creating a system of cooperative economics with the neighborhood.\u003c/p>\n\u003cp>“I feel like that’s a better approach to having healthy and sustainable communities,” Crockett says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Pop-Up Village happens every second Saturday of the month (April 13th, May 11th, June 8th), from 1 p.m. to 4:30 p.m., at the Southeast Community Center (1550 Evans Ave., San Francisco). The events are free to all. \u003ca href=\"https://popupvillage.org/\">More information and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every second Saturday in Southeast San Francisco, over a dozen organizations come together to offer much-needed resources to residents of the surrounding neighborhood.\u003c/p>\n\u003cp>At the \u003ca href=\"https://popupvillage.org/\" target=\"_blank\" rel=\"noopener\">Pop-Up Village\u003c/a>, vendors teach healthy recipes and supply the ingredients so folks can make the meals at home. Dental care practitioners and physical therapists offer care and consultations, and barbers give fresh fades and line-ups.\u003c/p>\n\u003cp>Topics of violence prevention and civic responsibility are covered by Uncle Damien of the community action organization \u003ca href=\"https://www.us4usbayarea.org/\" target=\"_blank\" rel=\"noopener\">Us4Us\u003c/a>. And representatives from the \u003ca href=\"https://sfdec.org/\">San Francisco Department of Early Childhood\u003c/a>, as well as members from Tachelle Herron’s \u003ca href=\"https://www.aintiascholar.org/\" target=\"_blank\" rel=\"noopener\">Ain’t I A Scholar\u003c/a> organization, assist with a Youth Future Zone.\u003c/p>\n\u003cfigure id=\"attachment_13955709\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955709\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861.jpg\" alt=\"Chef Will B of WillBHealthy at the Pop-Up Village holds up a piece of fresh produce during a recent gathering.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chef Will B of WillBHealthy at the Pop-Up Village holds up a piece of fresh produce during a recent gathering. \u003ccite>(via The Pop-Up Village)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a constellation of resources,” says KaSelah Crockett, event organizer and head of the nonprofit organizations \u003ca href=\"https://www.compassandkeys.org/\" target=\"_blank\" rel=\"noopener\">Compass & Keys\u003c/a> and the Pop-Up Village’s umbrella organization.\u003c/p>\n\u003cp>This resource pop-up has been held for over seven years at various sites in Oakland and San Francisco. This year’s spring series will be hosted at the \u003ca href=\"https://sfpuc.org/learning/come-visit/southeast-community-center\" target=\"_blank\" rel=\"noopener\">Southeast Community Center\u003c/a> (SECC) at 1550 Evans Ave. in San Francisco, just off Third Street, between the Dogpatch and Hunters Point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Saturday, April 13, in addition to farmers, poets and medical workers, there will be a special focus on reproductive health. April 11 through April 17 is known as Black Maternal Health Week; the week-long campaign, founded by the \u003ca href=\"https://blackmamasmatter.org/bmhw-2024/\">Black Mamas Matter Alliance\u003c/a>, was officially recognized by the federal government last April in \u003ca href=\"https://www.hhs.gov/about/news/2023/04/13/hhs-celebrates-black-maternal-health-week-2023.html\">an official proclamation by President Biden\u003c/a>.\u003c/p>\n\u003cp>The week is a reminder of the inequities in reproductive health. In the United States, African Americans who give birth face a nearly 50% higher rate of \u003ca href=\"https://www.cdc.gov/reproductivehealth/maternalinfanthealth/pretermbirth.htm\" target=\"_blank\" rel=\"noopener\">preterm birth\u003c/a> than white or Hispanic birthing parents; that’s in addition to other health concerns, including higher rates of cervical cancer and postpartum disorder.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/07/05/1186019422/the-black-maternal-mortality-crisis-and-why-it-remains-an-issue\" target=\"_blank\" rel=\"noopener\">These kind of disparities have been evident\u003c/a> since officials started tracking reproductive health statistics nearly 100 years ago, and were \u003ca href=\"https://www.cdc.gov/nchs/data/hestat/maternal-mortality/2021/maternal-mortality-rates-2021.htm\">exacerbated by the pandemic\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13955710\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-scaled.jpg\" alt=\"EBlendz da Barber offers free haircuts to people at the Pop-Up Village.\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">EBlendz da Barber offers free haircuts to people at the Pop-Up Village. \u003ccite>(via The Pop-Up Village)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, the national numbers around reproductive health are mirrored \u003ca href=\"https://www.sf.gov/perinatal-equity-initiative\" target=\"_blank\" rel=\"noopener\">in San Francisco\u003c/a>.\u003c/p>\n\u003cp>“This month we’re focused on Black maternal health, and we have a bunch of vendors coming out,” says Crockett. The list includes the UCSF-supported \u003ca href=\"https://popupvillage.org/partner/san-francisco-respect-initiative-sfri/\" target=\"_blank\" rel=\"noopener\">SF Respect Initiative\u003c/a> and \u003ca href=\"https://pretermbirthca.ucsf.edu/expecting-justice\" target=\"_blank\" rel=\"noopener\">Expecting Justice\u003c/a>, as well as \u003ca href=\"https://birthcompanionscommunitycenter.org/\" target=\"_blank\" rel=\"noopener\">Birth Companions Community Center\u003c/a>, the \u003ca href=\"https://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a> and others.\u003c/p>\n\u003cp>The presence of organizations such as \u003ca href=\"https://www.thebutterflymovement.com/#/\" target=\"_blank\" rel=\"noopener\">The Butterfly Movement\u003c/a> indicates how reproductive health is about more than giving birth — it’s also about empowerment and economic justice. Led by Executive Director Haile Shaver, as well as CEO and National Director Brandi Mack (who also co-created the Pop-Up Village), the organization brings another layer to the issue: economic sustainability.\u003c/p>\n\u003cp>“This network is a generative economic tool,” says Crockett. “It allows us to be supported, and be in support of one another.”\u003c/p>\n\u003cp>With a background in counseling psychology and family & marriage therapy, Crockett has approached the work of community health from a few different angles. But she believes true healing, and even preventive measures, can come simply with being connected to the neighborhood you’re serving and bringing the resources to the peoples’ doorsteps.\u003c/p>\n\u003cp>She adds that the Pop-Up Village serves as a place to check in, have healthy conversations and even address some heavier topics in a way that’s uplifting and respectful.\u003c/p>\n\u003cp>She sees health not just as a matter of providing care — it’s also a matter of neighbors knowing each other, sharing resources and creating a system of cooperative economics with the neighborhood.\u003c/p>\n\u003cp>“I feel like that’s a better approach to having healthy and sustainable communities,” Crockett says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Pop-Up Village happens every second Saturday of the month (April 13th, May 11th, June 8th), from 1 p.m. to 4:30 p.m., at the Southeast Community Center (1550 Evans Ave., San Francisco). The events are free to all. \u003ca href=\"https://popupvillage.org/\">More information and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tasty-tings-jamaican-beef-patties-sf-oakland",
"title": "Tasty Tings Is an Underground Jamaican Patty Party in the Bay",
"publishDate": 1679946321,
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"headTitle": "Tasty Tings Is an Underground Jamaican Patty Party in the Bay | KQED",
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"content": "\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-\u003c/i>\u003c/b>\u003cb>generation\u003c/b>\u003cb>\u003ci> local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>Jamaican beef patties are one of those foods you can only truly appreciate if you’ve ever lived outside of the Bay Area. Hefty enough to satiate your stomach, compact enough to grub on while walking to the bus stop and packing enough kick to light up your taste buds, these patties are a quintessentially Caribbean street food that West Coast cities generally lack.\u003c/p>\n\u003cp>It wasn’t until I migrated to the East Coast, where the Caribbean population is far more sizable than it is in California, that I fell in love with the gold-flaked zing of the Jamaican patty. Similar to an empanada, the patties are warm, spicy, beefed up and — very importantly — affordable enough to buy with whatever dollar bills you have crinkled up in your pockets. Often stuffed with various combinations of meats or veggies, Jamaican patties are a versatile vessel for deliciousness. They got me through my coldest winters in Boston and proved to be a worthy substitute for the street tacos I sorely missed, especially after late-night functions.\u003c/p>\n\u003cp>Ever since returning to the Bay, I’ve noticed the lack of Caribbean patties here. I missed them. So you can understand my excitement when I found Tasty Tings, a one-woman pop-up run by Bayview born-and-raised Alyssa Magdaluyo, who was vending the Jamaican baked goods on a sidewalk in Oakland. I immediately stopped what I was doing, crossed the street and ordered a few to take home to my wife, who misses Jamaican beef patties even more than I do.\u003c/p>\n\u003cfigure id=\"attachment_13926981\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926981\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/tasty-tings-owner.jpg\" alt=\"The owner of Tasty Tings poses in front of a sign for her Jamaican food pop up.\" width=\"1920\" height=\"1908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty-tings-owner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty-tings-owner-800x795.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty-tings-owner-1020x1014.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty-tings-owner-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty-tings-owner-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty-tings-owner-1536x1526.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alyssa Magdaluyo poses at a food pop-up event. \u003ccite>(Courtesy of Tasty Tings)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Magdaluyo, who is a mix of Jamaican, Filipina, Chinese and Creole heritages, uses her food as a way to console herself and others. “I love eating,” she says. “But also I love being able to feed. To be able to share food with others is the most comforting experience.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s what the 28-year-old had to say about her Frisco flavors — served with a dash of Caribbean fire.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: You’re a full-time food hustler. How did you get into foodmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Alyssa Magdaluyo: \u003c/b>I just love cooking. I’m the youngest of three siblings. By the time I was born my mom was over cooking. It was always make-your-own-dinner night. The fridge was always stocked, so that was an entryway into cooking. Growing up, I’ve always wanted [to own] a bakery or restaurant or to be a food columnist, but living in San Francisco is hella expensive to eat out all the time. Cooking became a survival thing and a way to eat food I can’t afford.\u003c/p>\n\u003cp>\u003cb>Why did you start Tasty Tings?\u003c/b>\u003c/p>\n\u003cp>I wanted to hit up Jamaica, the motherland — but then COVID happened. I hit up the Philippines before that though. I also visited New Orleans since I’m Creole. Since I couldn’t go to Jamaica, I started experimenting more with patties, and I put it on social media. People just wanted to keep eating my food. This is my third official year since shelter in place. Every year I’m just surprised. I think I’ll have to get a job serving again, but my people and my community have always held me and supported me. Like damn, I make really good food, and I hold it to the standards of any job I’ve ever had.\u003c/p>\n\u003cp>\u003cb>Tell us about the Jamaican-style patties you serve.\u003c/b>\u003c/p>\n\u003cp>It’s like an empanada. I do a lentil one — lentils stewed in coconut cream and garlic. You can tell I’m Filipino because of all the garlic (laughs). I love the mushroom, too. It’s spicy jerk mushroom and bell peppers. Sometimes I be making it a little too spicy ‘cause the marinade gets absorbed into the dough (laughs). The beef and cheese are really popular. I like cheese, so I’m always trying to add more cheese. The shrimp one is really fire — jerk shrimp with cheese. It has caramelized leeks and bell peppers. And curry chicken was my other favorite.\u003c/p>\n\u003cp>Every year I try to do another [flavor] and perfect it. I usually do a sweet one for fun — coconut condensed milk and bananas. I wanna do a plantain one, a spicy one. But it would be hella dense. I’m trying to mix it up this year. October is Filipino Heritage Month, and I do try to do Filipino flavors, like longaniza. It’s longaniza pork in spicy papaya salad with an egg. It’s difficult putting that together.\u003c/p>\n\u003cfigure id=\"attachment_13926977\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/tasty_tings_beef-800x534.jpg\" alt=\"A Jamaican beef patty on a wooden table\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty_tings_beef-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty_tings_beef-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty_tings_beef-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty_tings_beef-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty_tings_beef-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty_tings_beef.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A classic Jamaican beef patty from Tasty Tings. \u003ccite>(Elliott Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your process for making a batch of patties?\u003c/b>\u003c/p>\n\u003cp>I have a prep station at my house. It’s in my living room. It’s all super small-batch. I can probably yield 150 max. I usually just get everything from the store — Mandela or Berkeley Bowl, they have all those special seasonings. I used the smoked salt for the chicken and the jerk because it gives it that flavor since I can’t barbecue mushrooms. Jerk is like Jamaican-style barbecue, basically. I’m trying to infuse those flavors without actually grilling. I just be going crazy looking at patties after that (laughs).\u003c/p>\n\u003cp>\u003cb>You proudly grew up in San Francisco. How does that influence your approach?\u003c/b>\u003c/p>\n\u003cp>[aside postID='arts_13925984,arts_13922141,arts_13926878']I went to school in Pac Heights, and all my classmates were Chinese. And I lived in Bayview where all my neighbors were Black. They each saw me as the other. I just rolled with it. I lived on a hill, right in the middle, so I just created a balance. Took what I liked and kept it pushing.\u003c/p>\n\u003cp>Being from the city and watching it change all the time, especially from living in Bayview, you see it all change, and it’s disheartening. Police corruption, community issues. I like to walk down 24th Street to remember I live here, I’m from here. That’s a mental health walk for me. I’m so grateful. SF breaks my heart so much, but I still love it. It’s like a relationship. I ride so hard for being on this land, but it’s disheartening when it doesn’t want to push you forward also.\u003c/p>\n\u003cp>\u003cb>You often collaborate with local artists, including \u003c/b>\u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">\u003cb>Family Not A Group\u003c/b>\u003c/a>\u003cb>, the San Francisco collective. What’s your connection to them?\u003c/b>\u003c/p>\n\u003cp>I fucking love FNG. Shout out to all 17 of y’all. I honestly have a personal relationship with everyone in FNG. Just from being raised in this city. The artist hub [in San Francisco] is so small. It makes sense for us to use our platforms to help each other. I wouldn’t be where I’m at without having the support of my community. It’s a beautiful space to be a part of. I’ve known \u003ca href=\"https://www.instagram.com/thejenset/?hl=en\">DJ Jenset\u003c/a> since we were 15. \u003ca href=\"https://www.instagram.com/everybodylovezmike/\">Mike Evans\u003c/a> and \u003ca href=\"https://www.instagram.com/baghead.fng/\">Baghead\u003c/a> I knew from when we were in the Mario Woods Coalition together. I love being around them. Seeing them all together is even better because we’ve shared experiences together. FNG reminds me that we exist.\u003c/p>\n\u003cp>\u003cb>What’s the \u003c/b>\u003ca href=\"https://www.facebook.com/justice4mariowoodscoalition/\">\u003cb>Mario Woods Coalition\u003c/b>\u003c/a>\u003cb>?\u003c/b>\u003c/p>\n\u003cp>It was a grip of people combating police brutality. We had meetings and set up protest dates. Being in that space helped me. I didn’t really have a group of friends in my community until I went to those meetings. Thank god I wasn’t the only one worrying about this. I was happy I found a safe space where we were trying to do something about it and not just being terrorized.\u003c/p>\n\u003cp>\u003cb>What’s one thing about San Francisco you think outsiders might not understand?\u003c/b>\u003c/p>\n\u003cp>It’s pushed out so many people. [But] the community is what makes it beautiful. It’s not Lands End hype. [That’s] so fake. This isn’t what people are here for. They want the art, the music, the community leaders, the muralists.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\" citation=\"Alyssa Magdaluyo\"]“I think of it not like a capitalistic transaction but an energy exchange. I’ll nourish you, and you help me nourish myself.”[/pullquote]I honestly got evicted out of my family home five years ago, and I came to Oakland. I didn’t think I would enjoy it… well that’s not true. I just love my home [in SF]. But I’ve learned about a new community, and Oakland holds it down. I’m eternally grateful to stay in the Bay. But I love my home and being able to feed you guys and go to all these cool shows.\u003c/p>\n\u003cp>\u003cb>Do you have any favorite beef patty hideouts in the Bay Area besides your own?\u003c/b>\u003c/p>\n\u003cp>I honestly haven’t had many beef patties in the Bay. \u003ca href=\"https://www.instagram.com/peachespatties/?hl=en\">Peaches Patties\u003c/a> — she was at Outside Lands. Those are freakin’ good. I honestly went to New York and did some research and development (laughs). There’s this one in New York, I wish i could tell you where it was, a Senegalese spot; they make these curry goat patties. So good. But I’m not handling goat. That’s just next level.\u003c/p>\n\u003cp>\u003cb>What are the realities of operating a pop-up food business in the Bay?\u003c/b>\u003c/p>\n\u003cp>Just trying to find a balance between handling and saving my mental health and physical health and not burning out — having better boundaries. I can’t overextend myself and make 250 patties to sell out. I’m staying in my lane of 100 to 50 small-batch [so I can] have a real connection with the people I’m vending to rather than having only a transactional moment. I didn’t start it for that. This was a passion project to share comfort with friends and my community [during the pandemic], and it extended to a lot of people who needed food vendors. I think of it not like a capitalistic transaction but an energy exchange. I’ll nourish you, and you help me nourish myself.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" 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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Follow \u003c/i>\u003ca href=\"https://www.instagram.com/tasty_tings/\">\u003ci>Tasty Tings\u003c/i>\u003c/a>\u003ci> on Instagram for announcements on pop-up events and locations around the Bay Area. Catering is also available; send inquiries to \u003c/i>\u003ca href=\"mailto:tastytings@gmail.com\">\u003ci>tastytings@gmail.com\u003c/i>\u003c/a>\u003ci>.\u003cbr>\n\u003c/i>\u003c/p>\n\n",
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"title": "Tasty Tings Is an Underground Jamaican Patty Party in Oakland and SF | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-\u003c/i>\u003c/b>\u003cb>generation\u003c/b>\u003cb>\u003ci> local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>Jamaican beef patties are one of those foods you can only truly appreciate if you’ve ever lived outside of the Bay Area. Hefty enough to satiate your stomach, compact enough to grub on while walking to the bus stop and packing enough kick to light up your taste buds, these patties are a quintessentially Caribbean street food that West Coast cities generally lack.\u003c/p>\n\u003cp>It wasn’t until I migrated to the East Coast, where the Caribbean population is far more sizable than it is in California, that I fell in love with the gold-flaked zing of the Jamaican patty. Similar to an empanada, the patties are warm, spicy, beefed up and — very importantly — affordable enough to buy with whatever dollar bills you have crinkled up in your pockets. Often stuffed with various combinations of meats or veggies, Jamaican patties are a versatile vessel for deliciousness. They got me through my coldest winters in Boston and proved to be a worthy substitute for the street tacos I sorely missed, especially after late-night functions.\u003c/p>\n\u003cp>Ever since returning to the Bay, I’ve noticed the lack of Caribbean patties here. I missed them. So you can understand my excitement when I found Tasty Tings, a one-woman pop-up run by Bayview born-and-raised Alyssa Magdaluyo, who was vending the Jamaican baked goods on a sidewalk in Oakland. I immediately stopped what I was doing, crossed the street and ordered a few to take home to my wife, who misses Jamaican beef patties even more than I do.\u003c/p>\n\u003cfigure id=\"attachment_13926981\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926981\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/tasty-tings-owner.jpg\" alt=\"The owner of Tasty Tings poses in front of a sign for her Jamaican food pop up.\" width=\"1920\" height=\"1908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty-tings-owner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty-tings-owner-800x795.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty-tings-owner-1020x1014.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty-tings-owner-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty-tings-owner-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty-tings-owner-1536x1526.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alyssa Magdaluyo poses at a food pop-up event. \u003ccite>(Courtesy of Tasty Tings)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Magdaluyo, who is a mix of Jamaican, Filipina, Chinese and Creole heritages, uses her food as a way to console herself and others. “I love eating,” she says. “But also I love being able to feed. To be able to share food with others is the most comforting experience.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s what the 28-year-old had to say about her Frisco flavors — served with a dash of Caribbean fire.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: You’re a full-time food hustler. How did you get into foodmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Alyssa Magdaluyo: \u003c/b>I just love cooking. I’m the youngest of three siblings. By the time I was born my mom was over cooking. It was always make-your-own-dinner night. The fridge was always stocked, so that was an entryway into cooking. Growing up, I’ve always wanted [to own] a bakery or restaurant or to be a food columnist, but living in San Francisco is hella expensive to eat out all the time. Cooking became a survival thing and a way to eat food I can’t afford.\u003c/p>\n\u003cp>\u003cb>Why did you start Tasty Tings?\u003c/b>\u003c/p>\n\u003cp>I wanted to hit up Jamaica, the motherland — but then COVID happened. I hit up the Philippines before that though. I also visited New Orleans since I’m Creole. Since I couldn’t go to Jamaica, I started experimenting more with patties, and I put it on social media. People just wanted to keep eating my food. This is my third official year since shelter in place. Every year I’m just surprised. I think I’ll have to get a job serving again, but my people and my community have always held me and supported me. Like damn, I make really good food, and I hold it to the standards of any job I’ve ever had.\u003c/p>\n\u003cp>\u003cb>Tell us about the Jamaican-style patties you serve.\u003c/b>\u003c/p>\n\u003cp>It’s like an empanada. I do a lentil one — lentils stewed in coconut cream and garlic. You can tell I’m Filipino because of all the garlic (laughs). I love the mushroom, too. It’s spicy jerk mushroom and bell peppers. Sometimes I be making it a little too spicy ‘cause the marinade gets absorbed into the dough (laughs). The beef and cheese are really popular. I like cheese, so I’m always trying to add more cheese. The shrimp one is really fire — jerk shrimp with cheese. It has caramelized leeks and bell peppers. And curry chicken was my other favorite.\u003c/p>\n\u003cp>Every year I try to do another [flavor] and perfect it. I usually do a sweet one for fun — coconut condensed milk and bananas. I wanna do a plantain one, a spicy one. But it would be hella dense. I’m trying to mix it up this year. October is Filipino Heritage Month, and I do try to do Filipino flavors, like longaniza. It’s longaniza pork in spicy papaya salad with an egg. It’s difficult putting that together.\u003c/p>\n\u003cfigure id=\"attachment_13926977\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/tasty_tings_beef-800x534.jpg\" alt=\"A Jamaican beef patty on a wooden table\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty_tings_beef-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty_tings_beef-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty_tings_beef-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty_tings_beef-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty_tings_beef-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/tasty_tings_beef.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A classic Jamaican beef patty from Tasty Tings. \u003ccite>(Elliott Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your process for making a batch of patties?\u003c/b>\u003c/p>\n\u003cp>I have a prep station at my house. It’s in my living room. It’s all super small-batch. I can probably yield 150 max. I usually just get everything from the store — Mandela or Berkeley Bowl, they have all those special seasonings. I used the smoked salt for the chicken and the jerk because it gives it that flavor since I can’t barbecue mushrooms. Jerk is like Jamaican-style barbecue, basically. I’m trying to infuse those flavors without actually grilling. I just be going crazy looking at patties after that (laughs).\u003c/p>\n\u003cp>\u003cb>You proudly grew up in San Francisco. How does that influence your approach?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I went to school in Pac Heights, and all my classmates were Chinese. And I lived in Bayview where all my neighbors were Black. They each saw me as the other. I just rolled with it. I lived on a hill, right in the middle, so I just created a balance. Took what I liked and kept it pushing.\u003c/p>\n\u003cp>Being from the city and watching it change all the time, especially from living in Bayview, you see it all change, and it’s disheartening. Police corruption, community issues. I like to walk down 24th Street to remember I live here, I’m from here. That’s a mental health walk for me. I’m so grateful. SF breaks my heart so much, but I still love it. It’s like a relationship. I ride so hard for being on this land, but it’s disheartening when it doesn’t want to push you forward also.\u003c/p>\n\u003cp>\u003cb>You often collaborate with local artists, including \u003c/b>\u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">\u003cb>Family Not A Group\u003c/b>\u003c/a>\u003cb>, the San Francisco collective. What’s your connection to them?\u003c/b>\u003c/p>\n\u003cp>I fucking love FNG. Shout out to all 17 of y’all. I honestly have a personal relationship with everyone in FNG. Just from being raised in this city. The artist hub [in San Francisco] is so small. It makes sense for us to use our platforms to help each other. I wouldn’t be where I’m at without having the support of my community. It’s a beautiful space to be a part of. I’ve known \u003ca href=\"https://www.instagram.com/thejenset/?hl=en\">DJ Jenset\u003c/a> since we were 15. \u003ca href=\"https://www.instagram.com/everybodylovezmike/\">Mike Evans\u003c/a> and \u003ca href=\"https://www.instagram.com/baghead.fng/\">Baghead\u003c/a> I knew from when we were in the Mario Woods Coalition together. I love being around them. Seeing them all together is even better because we’ve shared experiences together. FNG reminds me that we exist.\u003c/p>\n\u003cp>\u003cb>What’s the \u003c/b>\u003ca href=\"https://www.facebook.com/justice4mariowoodscoalition/\">\u003cb>Mario Woods Coalition\u003c/b>\u003c/a>\u003cb>?\u003c/b>\u003c/p>\n\u003cp>It was a grip of people combating police brutality. We had meetings and set up protest dates. Being in that space helped me. I didn’t really have a group of friends in my community until I went to those meetings. Thank god I wasn’t the only one worrying about this. I was happy I found a safe space where we were trying to do something about it and not just being terrorized.\u003c/p>\n\u003cp>\u003cb>What’s one thing about San Francisco you think outsiders might not understand?\u003c/b>\u003c/p>\n\u003cp>It’s pushed out so many people. [But] the community is what makes it beautiful. It’s not Lands End hype. [That’s] so fake. This isn’t what people are here for. They want the art, the music, the community leaders, the muralists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“I think of it not like a capitalistic transaction but an energy exchange. I’ll nourish you, and you help me nourish myself.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I honestly got evicted out of my family home five years ago, and I came to Oakland. I didn’t think I would enjoy it… well that’s not true. I just love my home [in SF]. But I’ve learned about a new community, and Oakland holds it down. I’m eternally grateful to stay in the Bay. But I love my home and being able to feed you guys and go to all these cool shows.\u003c/p>\n\u003cp>\u003cb>Do you have any favorite beef patty hideouts in the Bay Area besides your own?\u003c/b>\u003c/p>\n\u003cp>I honestly haven’t had many beef patties in the Bay. \u003ca href=\"https://www.instagram.com/peachespatties/?hl=en\">Peaches Patties\u003c/a> — she was at Outside Lands. Those are freakin’ good. I honestly went to New York and did some research and development (laughs). There’s this one in New York, I wish i could tell you where it was, a Senegalese spot; they make these curry goat patties. So good. But I’m not handling goat. That’s just next level.\u003c/p>\n\u003cp>\u003cb>What are the realities of operating a pop-up food business in the Bay?\u003c/b>\u003c/p>\n\u003cp>Just trying to find a balance between handling and saving my mental health and physical health and not burning out — having better boundaries. I can’t overextend myself and make 250 patties to sell out. I’m staying in my lane of 100 to 50 small-batch [so I can] have a real connection with the people I’m vending to rather than having only a transactional moment. I didn’t start it for that. This was a passion project to share comfort with friends and my community [during the pandemic], and it extended to a lot of people who needed food vendors. I think of it not like a capitalistic transaction but an energy exchange. I’ll nourish you, and you help me nourish myself.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" 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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Follow \u003c/i>\u003ca href=\"https://www.instagram.com/tasty_tings/\">\u003ci>Tasty Tings\u003c/i>\u003c/a>\u003ci> on Instagram for announcements on pop-up events and locations around the Bay Area. Catering is also available; send inquiries to \u003c/i>\u003ca href=\"mailto:tastytings@gmail.com\">\u003ci>tastytings@gmail.com\u003c/i>\u003c/a>\u003ci>.\u003cbr>\n\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From The Soil: A Family Tree on Toxic Terrain",
"headTitle": "From The Soil: A Family Tree on Toxic Terrain | KQED",
"content": "\u003cp>Inside an office on Third Street, a main thoroughfare in San Francisco’s Bayview-Hunters Point neighborhood, lifelong resident Arieann Harrison reflects on the legacy left behind by her late mother Marie Harrison.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My mother was deemed the ‘Mother of the Movement for Environmental Justice,'” Arieann says proudly. \u003c/span>\u003c/p>\n\u003cp>Marie Harrison spent a large portion of her life advocating for healthier communities and pushing for legal accountability from the large institutions that polluted her neighborhood—an area that has been home to working class people of color for generations, especially African-Americans.\u003c/p>\n\u003cfigure id=\"attachment_13925790\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925790\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/DSC05017-800x533.jpg\" alt=\"Arieann Harrison points to a map of the Bayview-Hunters Point community on the wall in her office. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arieann Harrison points to a map of the Bayview-Hunters Point community on the wall in her office. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with a handful of organizations and community volunteers, Harrison successfully fought for the closure of \u003ca href=\"https://www.sfgate.com/news/article/Big-victory-for-Hunters-Point-activists-As-PG-E-2534998.php\" target=\"_blank\" rel=\"noopener\">a toxic PG&E power plant\u003c/a> in 2006. She was also part of the team that sounded the alarm about pollutants at the \u003ca href=\"https://sfbayview.com/2006/10/a-failure-of-leadership/\" target=\"_blank\" rel=\"noopener\">Hunters Point Shipyard\u003c/a>, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Bayview-residents-blast-SF-officials-over-13159862.php\" target=\"_blank\" rel=\"noopener\">the botched clean-up job\u003c/a>, and the lingering impact on the surrounding community. She organized residents, spoke at City Hall and even once chained herself to a fence in protest.\u003c/p>\n\u003cp>In honor of her mother’s efforts, Arieann Harrison is continuing the fight against environmental racism. She is the founder of \u003ca href=\"https://www.canwelive.org/\" target=\"_blank\" rel=\"noopener\">Can We Live\u003c/a>, an organization that is working with local residents to screen them for toxins and install devices to monitor airborne pollutants. Can We Live also offers scholarships for students interested in studying environmental justice.\u003c/p>\n\u003cp>This week we talk to Arieann Harrison about growing up on toxic terrain and how her work doesn’t fall far from the family tree.\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=KQINC2310204890&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\u003c/h5>\n\u003cp>\u003ca href=\"https://drive.google.com/file/d/1FB4A48Ioz3QOwDgldLT7reeZ8GnIU7S6/view?usp=sharing\">\u003cspan style=\"font-weight: 400\">Read the transcript\u003c/span>\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Below are lightly edited excerpts of my conversation with Arieann Harrison.\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">In the early 2000s, Marie Harrison and community groups, such as The \u003c/span>\u003ca href=\"https://www.sfgate.com/search/?action=search&channel=health&inlineLink=1&searchindex=solr&query=%22Hunters+View+Tenants+Association%22\">\u003cspan style=\"font-weight: 400\">Hunters View Tenants Association\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and Greenaction, worked with residents to protest a local PG&E power plant that was spewing toxins into the Bayview-Hunters Point community, toxins that were directly impacting her family’s health. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>HARRISON: \u003c/b>\u003cspan style=\"font-weight: 400\">She was concerned about my kids, first of all. You know, my youngest, my baby was having nosebleeds and stuff like that. \u003c/span>\u003cspan style=\"font-weight: 400\">I was like a new mother. So I’m doing everything that I think is right. I’m feeding the baby and all that kinda stuff. My baby kept on losing weight. It was like going in reverse, and he would always spit up his food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">My mother said it got something to do with that black soot that keep on spewing up and spewing up in the community, ‘cause my child is not the only one that is sick or having some problems with breathing and different stuff like that. There’s other community resident members that are having the same issues. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW\u003c/b>\u003cspan style=\"font-weight: 400\">: Marie Harrison wanted elected officials and residents alike to be aware of what was happening in the neighborhood. Her passion about this issue inspired her to take radical actions. One time she chained herself to the front gates of the power plant.\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARRISON:\u003c/b>\u003cspan style=\"font-weight: 400\"> [Laughs] I remember My mom said, I think I’m going to jail. [laughs] I think I’m going to jail [laughs] you know her and her crew, you know, chaining themselves to a fence. I was like, really? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">And my mother didn’t have no record, or nothing like that, so that was kind of a big… that was a big deal. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\"> Were you out there with her? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>HARRISON:\u003c/b>\u003cspan style=\"font-weight: 400\"> No, I took my, took my son and went home. Next thing I know, I’m coming back down the block and she already gone. They taking her to jail, you know. My mother was stubborn. My mother will tell you “yeah” and do what she gonna do, right, and I’m the same way bout it [laughs].\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW\u003c/b>\u003cb>: \u003c/b>\u003cspan style=\"font-weight: 400\"> In her later days, I’ve seen the images of [your mom] with the oxygen tank and speaking about what’s happened in the community down at city hall. And so at that point, in her fight, how did that inspire you even further to get into this work? \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARRISON:\u003c/b>\u003cspan style=\"font-weight: 400\"> My mother was diagnosed with a respiratory lung disease. When they showed the pictures, the X-rays that they took of her, it said it looked like somebody physically went in there and scratched up her lungs, you know, like she was attacked from the inside. My mother didn’t smoke cigarettes. She didn’t drink, none of that stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I was really, really, really angry. I was very upset. But, you know, sometimes you gotta turn your anger into a lighter fluid, right? Turn it into kindling. You gotta throw it on the fire and watch it burn and turn it into fuel. Right? \u003c/span>\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>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside an office on Third Street, a main thoroughfare in San Francisco’s Bayview-Hunters Point neighborhood, lifelong resident Arieann Harrison reflects on the legacy left behind by her late mother Marie Harrison.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My mother was deemed the ‘Mother of the Movement for Environmental Justice,'” Arieann says proudly. \u003c/span>\u003c/p>\n\u003cp>Marie Harrison spent a large portion of her life advocating for healthier communities and pushing for legal accountability from the large institutions that polluted her neighborhood—an area that has been home to working class people of color for generations, especially African-Americans.\u003c/p>\n\u003cfigure id=\"attachment_13925790\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925790\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/DSC05017-800x533.jpg\" alt=\"Arieann Harrison points to a map of the Bayview-Hunters Point community on the wall in her office. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/DSC05017-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arieann Harrison points to a map of the Bayview-Hunters Point community on the wall in her office. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with a handful of organizations and community volunteers, Harrison successfully fought for the closure of \u003ca href=\"https://www.sfgate.com/news/article/Big-victory-for-Hunters-Point-activists-As-PG-E-2534998.php\" target=\"_blank\" rel=\"noopener\">a toxic PG&E power plant\u003c/a> in 2006. She was also part of the team that sounded the alarm about pollutants at the \u003ca href=\"https://sfbayview.com/2006/10/a-failure-of-leadership/\" target=\"_blank\" rel=\"noopener\">Hunters Point Shipyard\u003c/a>, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Bayview-residents-blast-SF-officials-over-13159862.php\" target=\"_blank\" rel=\"noopener\">the botched clean-up job\u003c/a>, and the lingering impact on the surrounding community. She organized residents, spoke at City Hall and even once chained herself to a fence in protest.\u003c/p>\n\u003cp>In honor of her mother’s efforts, Arieann Harrison is continuing the fight against environmental racism. She is the founder of \u003ca href=\"https://www.canwelive.org/\" target=\"_blank\" rel=\"noopener\">Can We Live\u003c/a>, an organization that is working with local residents to screen them for toxins and install devices to monitor airborne pollutants. Can We Live also offers scholarships for students interested in studying environmental justice.\u003c/p>\n\u003cp>This week we talk to Arieann Harrison about growing up on toxic terrain and how her work doesn’t fall far from the family tree.\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=KQINC2310204890&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\u003c/h5>\n\u003cp>\u003ca href=\"https://drive.google.com/file/d/1FB4A48Ioz3QOwDgldLT7reeZ8GnIU7S6/view?usp=sharing\">\u003cspan style=\"font-weight: 400\">Read the transcript\u003c/span>\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Below are lightly edited excerpts of my conversation with Arieann Harrison.\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">In the early 2000s, Marie Harrison and community groups, such as The \u003c/span>\u003ca href=\"https://www.sfgate.com/search/?action=search&channel=health&inlineLink=1&searchindex=solr&query=%22Hunters+View+Tenants+Association%22\">\u003cspan style=\"font-weight: 400\">Hunters View Tenants Association\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and Greenaction, worked with residents to protest a local PG&E power plant that was spewing toxins into the Bayview-Hunters Point community, toxins that were directly impacting her family’s health. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>HARRISON: \u003c/b>\u003cspan style=\"font-weight: 400\">She was concerned about my kids, first of all. You know, my youngest, my baby was having nosebleeds and stuff like that. \u003c/span>\u003cspan style=\"font-weight: 400\">I was like a new mother. So I’m doing everything that I think is right. I’m feeding the baby and all that kinda stuff. My baby kept on losing weight. It was like going in reverse, and he would always spit up his food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">My mother said it got something to do with that black soot that keep on spewing up and spewing up in the community, ‘cause my child is not the only one that is sick or having some problems with breathing and different stuff like that. There’s other community resident members that are having the same issues. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW\u003c/b>\u003cspan style=\"font-weight: 400\">: Marie Harrison wanted elected officials and residents alike to be aware of what was happening in the neighborhood. Her passion about this issue inspired her to take radical actions. One time she chained herself to the front gates of the power plant.\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARRISON:\u003c/b>\u003cspan style=\"font-weight: 400\"> [Laughs] I remember My mom said, I think I’m going to jail. [laughs] I think I’m going to jail [laughs] you know her and her crew, you know, chaining themselves to a fence. I was like, really? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">And my mother didn’t have no record, or nothing like that, so that was kind of a big… that was a big deal. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\"> Were you out there with her? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>HARRISON:\u003c/b>\u003cspan style=\"font-weight: 400\"> No, I took my, took my son and went home. Next thing I know, I’m coming back down the block and she already gone. They taking her to jail, you know. My mother was stubborn. My mother will tell you “yeah” and do what she gonna do, right, and I’m the same way bout it [laughs].\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW\u003c/b>\u003cb>: \u003c/b>\u003cspan style=\"font-weight: 400\"> In her later days, I’ve seen the images of [your mom] with the oxygen tank and speaking about what’s happened in the community down at city hall. And so at that point, in her fight, how did that inspire you even further to get into this work? \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARRISON:\u003c/b>\u003cspan style=\"font-weight: 400\"> My mother was diagnosed with a respiratory lung disease. When they showed the pictures, the X-rays that they took of her, it said it looked like somebody physically went in there and scratched up her lungs, you know, like she was attacked from the inside. My mother didn’t smoke cigarettes. She didn’t drink, none of that stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I was really, really, really angry. I was very upset. But, you know, sometimes you gotta turn your anger into a lighter fluid, right? Turn it into kindling. You gotta throw it on the fire and watch it burn and turn it into fuel. Right? \u003c/span>\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>\u003c/div>",
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"content": "\u003cp>It was hard to find parking near the corner of Evans Avenue and Third Street on Oct. 22, when San Francisco’s new \u003ca href=\"https://sfpuc.org/learning/come-visit/southeast-community-center\">Southeast Community Center\u003c/a> officially opened. The assembled crowd — made up of local families, elected officials, city representatives and artists — counted down with Mayor London Breed as she snipped a red ribbon with oversized scissors, the final bit of ceremony before the three-story center’s glass doors swung open to the public. After two years of construction, the day had arrived; people surged in to inspect their new community center.\u003c/p>\n\u003cp>The 45,000 square-foot building, built by the San Francisco Public Utilities Commission for $100 million, is the result of generations of environmental activism. The original community center at 1800 Oakdale Ave. opened in 1988 to offset the effects of the Southeast Wastewater Treatment Plant on the neighborhood. (Current construction on the plant, the city’s largest, promises to increase efficiency and reduce odors.) Rather than refurbish the original Brutalist complex, southeast San Francisco residents voted to build an entirely new center at 1550 Evans Ave.\u003c/p>\n\u003cfigure id=\"attachment_13920945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg\" alt=\"Hall with large blue-tinted mural of people in collaged photographs, wood floor below\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13920945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kenyatta A.C. Hinkle, ‘Navigating The Historical Present: Bayview-Hunters Point,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set back from its busy corner, the new building is fronted by a wide expanse of native plantings, grassy areas, picnic tables, swing benches and a rocky playground. It also boasts three large-scale pieces of public art, all made in response to the site, its purpose and history.\u003c/p>\n\u003cp>[aside postid='arts_13903231'] The most visible is \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\">Mildred Howard\u003c/a>’s majestic \u003ci>Promissory Notes\u003c/i>, an 18-foot-tall bronze sculpture made of three oversized representations of West African currency, positioned to resemble ship sails and providing — the day of the opening block party, at least — the perfect backdrop for drum performances.\u003c/p>\n\u003cp>Inside the standalone Alex Pitcher Pavilion is \u003ca href=\"https://www.kachstudio.com/\">Kenyatta A.C. Hinkle\u003c/a>’s \u003ci>Navigating The Historical Present: Bayview-Hunters Point\u003c/i>, a hall-wide mural that collages washes of indigo paint with photographs from the neighborhood’s past and present. The images are a mixture of formal portraits and candid snapshots: a smiling sixth-grade class from 1954; a football player posing in his Junior 49ers uniform; a view of Sam Jordan’s Bar on Third. Scrapbook-like, the mural will preside over community events that can open up onto an outdoor amphitheater, where even more celebratory, smiling pictures will be taken.\u003c/p>\n\u003cfigure id=\"attachment_13920946\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg\" alt=\"View of second floor with brightly colored mural against far wall and glass-edged stairs descending\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13920946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phillip Hua, ‘Building a Better Bayview,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The third (and most glittery) of the public art pieces comes from \u003ca href=\"https://www.philliphua.com/\">Phillip Hua\u003c/a>, whose wall-mounted 3D mural \u003ci>Building a Better Bayview\u003c/i> pays homage to “The Big Six” (Alex Pitcher, Harold Madison, Ethel Garlington, Dr. Espanola Jackson, Shirley Jones and Elouise Westbrook), the community activists who originally founded the Southeast Community Center. While streets in Bayview are named after Westbrook, Jackson and Garlington, Hua puts images to these names, rendering their faces in rainbow hues. (The artist worked closely with the founders’ families to select these representative images.) Covered in gold leaf, the mural glows across blocks of varying depth, creating a sense of “in progress,” a reference to the ongoing community activism taking place both inside and outside the center’s walls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the new community center settles into its role, it will become an everyday destination — for childcare, nonprofit work, community meetings and casual hangs in its on-site café. The additional art that lines its second and third floor hallways will become familiar sights, enmeshed in the building’s very mission. This collection of nearly 40 two-dimensional works — all purchased by the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-unveils-expansive-new-art\">San Francisco Arts Commission\u003c/a> — was sourced from the Bayview Artist Registry, a group of artists with meaningful ties to the community.\u003c/p>\n\u003cfigure id=\"attachment_13920944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg\" alt=\"Interior with round couch and three framed works on wall next to window\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13920944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of the Southeast Community Center’s third floor, with photographs by Derek Macario on the right. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='news_11927434'] Among the framed photographs, paintings, drawings and mixed media works are familiar representations of the life that passes through nearby streets (like \u003ca href=\"https://derekmacario.com/\">Derek Macario\u003c/a>’s joyful street photography). There are elegant compositions that pay homage to the opportunities that brought so many to San Francisco during WWII, and the labor that continues to build this city (\u003ca href=\"https://suhasbhujbalart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Suhas Bhujbal\u003c/a>’s painting \u003ci>On the Way to Work\u003c/i> is a standout). And there are testaments to the innovation that defines San Francisco’s artistic past and present, thanks to \u003ca href=\"https://www.ronmsaunders.com/\">Ron Moultrie Sanders\u003c/a>’ beautifully layered photograms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new Southeast Community Center stands out from its surroundings — for its shininess, spaciousness and open, welcoming spaces — but it’s the type of building this area of San Francisco, now engaged in \u003ca href=\"https://www.kqed.org/science/1979614/for-these-black-bayview-hunters-point-residents-reparations-include-safeguarding-against-rising-toxic-contamination\">yet another battle for environmental justice\u003c/a>, has long deserved. As sea level rise threatens to spread old pollution from the Hunters Point Shipyard, it’s the activity that will take place here that will truly shape the future of the neighborhood.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was hard to find parking near the corner of Evans Avenue and Third Street on Oct. 22, when San Francisco’s new \u003ca href=\"https://sfpuc.org/learning/come-visit/southeast-community-center\">Southeast Community Center\u003c/a> officially opened. The assembled crowd — made up of local families, elected officials, city representatives and artists — counted down with Mayor London Breed as she snipped a red ribbon with oversized scissors, the final bit of ceremony before the three-story center’s glass doors swung open to the public. After two years of construction, the day had arrived; people surged in to inspect their new community center.\u003c/p>\n\u003cp>The 45,000 square-foot building, built by the San Francisco Public Utilities Commission for $100 million, is the result of generations of environmental activism. The original community center at 1800 Oakdale Ave. opened in 1988 to offset the effects of the Southeast Wastewater Treatment Plant on the neighborhood. (Current construction on the plant, the city’s largest, promises to increase efficiency and reduce odors.) Rather than refurbish the original Brutalist complex, southeast San Francisco residents voted to build an entirely new center at 1550 Evans Ave.\u003c/p>\n\u003cfigure id=\"attachment_13920945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg\" alt=\"Hall with large blue-tinted mural of people in collaged photographs, wood floor below\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13920945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hinkle_0015-Edit_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kenyatta A.C. Hinkle, ‘Navigating The Historical Present: Bayview-Hunters Point,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set back from its busy corner, the new building is fronted by a wide expanse of native plantings, grassy areas, picnic tables, swing benches and a rocky playground. It also boasts three large-scale pieces of public art, all made in response to the site, its purpose and history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> The most visible is \u003ca href=\"https://en.wikipedia.org/wiki/Mildred_Howard\">Mildred Howard\u003c/a>’s majestic \u003ci>Promissory Notes\u003c/i>, an 18-foot-tall bronze sculpture made of three oversized representations of West African currency, positioned to resemble ship sails and providing — the day of the opening block party, at least — the perfect backdrop for drum performances.\u003c/p>\n\u003cp>Inside the standalone Alex Pitcher Pavilion is \u003ca href=\"https://www.kachstudio.com/\">Kenyatta A.C. Hinkle\u003c/a>’s \u003ci>Navigating The Historical Present: Bayview-Hunters Point\u003c/i>, a hall-wide mural that collages washes of indigo paint with photographs from the neighborhood’s past and present. The images are a mixture of formal portraits and candid snapshots: a smiling sixth-grade class from 1954; a football player posing in his Junior 49ers uniform; a view of Sam Jordan’s Bar on Third. Scrapbook-like, the mural will preside over community events that can open up onto an outdoor amphitheater, where even more celebratory, smiling pictures will be taken.\u003c/p>\n\u003cfigure id=\"attachment_13920946\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg\" alt=\"View of second floor with brightly colored mural against far wall and glass-edged stairs descending\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13920946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_Hua_0012-Edit_COVER-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phillip Hua, ‘Building a Better Bayview,’ 2022. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The third (and most glittery) of the public art pieces comes from \u003ca href=\"https://www.philliphua.com/\">Phillip Hua\u003c/a>, whose wall-mounted 3D mural \u003ci>Building a Better Bayview\u003c/i> pays homage to “The Big Six” (Alex Pitcher, Harold Madison, Ethel Garlington, Dr. Espanola Jackson, Shirley Jones and Elouise Westbrook), the community activists who originally founded the Southeast Community Center. While streets in Bayview are named after Westbrook, Jackson and Garlington, Hua puts images to these names, rendering their faces in rainbow hues. (The artist worked closely with the founders’ families to select these representative images.) Covered in gold leaf, the mural glows across blocks of varying depth, creating a sense of “in progress,” a reference to the ongoing community activism taking place both inside and outside the center’s walls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the new community center settles into its role, it will become an everyday destination — for childcare, nonprofit work, community meetings and casual hangs in its on-site café. The additional art that lines its second and third floor hallways will become familiar sights, enmeshed in the building’s very mission. This collection of nearly 40 two-dimensional works — all purchased by the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/san-francisco-arts-commission-unveils-expansive-new-art\">San Francisco Arts Commission\u003c/a> — was sourced from the Bayview Artist Registry, a group of artists with meaningful ties to the community.\u003c/p>\n\u003cfigure id=\"attachment_13920944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg\" alt=\"Interior with round couch and three framed works on wall next to window\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13920944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SFAC_SECC_2D-34_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of the Southeast Community Center’s third floor, with photographs by Derek Macario on the right. \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Among the framed photographs, paintings, drawings and mixed media works are familiar representations of the life that passes through nearby streets (like \u003ca href=\"https://derekmacario.com/\">Derek Macario\u003c/a>’s joyful street photography). There are elegant compositions that pay homage to the opportunities that brought so many to San Francisco during WWII, and the labor that continues to build this city (\u003ca href=\"https://suhasbhujbalart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Suhas Bhujbal\u003c/a>’s painting \u003ci>On the Way to Work\u003c/i> is a standout). And there are testaments to the innovation that defines San Francisco’s artistic past and present, thanks to \u003ca href=\"https://www.ronmsaunders.com/\">Ron Moultrie Sanders\u003c/a>’ beautifully layered photograms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new Southeast Community Center stands out from its surroundings — for its shininess, spaciousness and open, welcoming spaces — but it’s the type of building this area of San Francisco, now engaged in \u003ca href=\"https://www.kqed.org/science/1979614/for-these-black-bayview-hunters-point-residents-reparations-include-safeguarding-against-rising-toxic-contamination\">yet another battle for environmental justice\u003c/a>, has long deserved. As sea level rise threatens to spread old pollution from the Hunters Point Shipyard, it’s the activity that will take place here that will truly shape the future of the neighborhood.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hip-Hop Collective Family Not a Group Lives Up to Its Name",
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"content": "\u003cp>You can’t stop artists from coming together. Hit ’em with a global pandemic, gas prices that are through the roof, housing costs through the stratosphere and a long list of music venues that have closed down—whatever. \u003cem>Artists are going to be artist\u003c/em>s. They’re going to come together to create, and I’m all here for it.\u003c/p>\n\u003cp>In San Francisco, there’s a very large and extremely talented faction of lyricists, singers, DJs and musicians who are coming together, creating moments and memories, and having fun while doing so.\u003c/p>\n\u003cp>On Wednesday Night the 17-member collective known as \u003ca href=\"https://www.instagram.com/p/CanQJz3PEDZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Family Not A Group\u003c/a> is set to hit the stage, collectively.\u003c/p>\n\u003cfigure id=\"attachment_13910243\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/275101607_1137619633707634_4938611485133538895_n.jpg\" alt=\"The night Family Not a Group came together in New York.\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275101607_1137619633707634_4938611485133538895_n.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275101607_1137619633707634_4938611485133538895_n-160x213.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">The night Family Not a Group came together in New York. \u003ccite>(Via Baghead)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They’re scheduled to perform at The Chapel, and the \u003ca href=\"https://thechapelsf.com/e/269265027947/?utm_source=fb1&utm_medium=shr\" target=\"_blank\" rel=\"noopener noreferrer\">March 9 show\u003c/a> will be the ensemble’s first major performance in their hometown of San Francisco. The show will be headlined by two artists who aren’t officially in the collective, but they’re “family friends”—singer \u003ca href=\"https://www.instagram.com/astu.music/\" target=\"_blank\" rel=\"noopener noreferrer\">Astu\u003c/a> and lyricists-slash-vocalist \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a>. They’ll be flanked by performances from \u003ca href=\"https://www.instagram.com/baghead.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">Baghead\u003c/a>, \u003ca href=\"https://www.instagram.com/aft.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">Afterthought\u003c/a> and \u003ca href=\"https://www.instagram.com/ozersf/\" target=\"_blank\" rel=\"noopener noreferrer\">Ozer, \u003c/a>who are just three of the 17-member conglomerate.\u003c/p>\n\u003cp>Along with Baghead, Afterthought and Ozer, there’s \u003ca href=\"https://www.instagram.com/bae.areash/\" target=\"_blank\" rel=\"noopener noreferrer\">ASH\u003c/a>, \u003ca href=\"https://www.instagram.com/serg.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">Serg2x\u003c/a>, \u003ca href=\"https://www.instagram.com/everybodylovezmike/\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Evans Jr.\u003c/a>, \u003ca href=\"https://www.instagram.com/thejenset/\" target=\"_blank\" rel=\"noopener noreferrer\">Jenset\u003c/a>, \u003ca href=\"https://www.instagram.com/maya_canales/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Canales\u003c/a>, \u003ca href=\"https://www.instagram.com/captain_cuadra/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand-O\u003c/a>, \u003ca href=\"https://www.instagram.com/maddamcyn/\" target=\"_blank\" rel=\"noopener noreferrer\">Cynny\u003c/a>, \u003ca href=\"https://www.instagram.com/professagabel/\" target=\"_blank\" rel=\"noopener noreferrer\">Professa Gabel\u003c/a>, \u003ca href=\"https://www.instagram.com/ap.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>, \u003ca href=\"https://www.instagram.com/kaly_incognegreaux/\" target=\"_blank\" rel=\"noopener noreferrer\">Kaly Jay\u003c/a>, \u003ca href=\"https://www.instagram.com/sayheykiid/\" target=\"_blank\" rel=\"noopener noreferrer\">DJSAY\u003c/a>, \u003ca href=\"https://www.instagram.com/shotbyjesstarantino/\" target=\"_blank\" rel=\"noopener noreferrer\">JessTarantino\u003c/a>, \u003ca href=\"https://www.instagram.com/sunday.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">SundaY\u003c/a> and \u003ca href=\"https://www.instagram.com/easweh/\" target=\"_blank\" rel=\"noopener noreferrer\">EaSWay\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The majority of the camp is from the City, with some folks hailing from other areas of the Bay, but the team’s origin story starts at a show in the Big Apple.\u003c/p>\n\u003cp>“When we went to New York, we performed at East Berlin,” Ozer tells me during a phone call. The crew did a show called “The Frisco Invasion” at the intimate, popular venue in The East Village. A couple things went wrong. Notably, the computer died before the show started and required someone to make an hour-long trek to get a replacement. But the show was good.\u003c/p>\n\u003cp>“I can’t remember if it was the venue manager or the sound engineer, but they said we killed it,” Ozer reflects. “The next day we talked amongst ourselves and said we’ve got something special here… and that’s how Family Not a Group was born.”\u003c/p>\n\u003cfigure id=\"attachment_13910246\" class=\"wp-caption alignnone\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910246\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/274938446_2055319477973887_2719572190814469886_n.jpg\" alt=\"Family Not a Group members pose for a photo while rocking a show in San Francisco last year. \" width=\"480\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/274938446_2055319477973887_2719572190814469886_n.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/274938446_2055319477973887_2719572190814469886_n-160x120.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Family Not a Group members pose for a photo while rocking a show in San Francisco last year. \u003ccite>(Via Baghead)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before that show, the nucleus had been forming. The individual artists would constantly support one another, showing up to performances and appearing on each other’s projects.\u003c/p>\n\u003cp>On Ozer’s latest album, \u003cem>Lost In Translation\u003c/em>, which dropped in July of last year, there are appearances from crew members Kaly Jay, EaSWay, Professa Gabel and more. [aside postid='arts_13908051']\u003c/p>\n\u003cp>The project is a lyrical exploration into some of the darker moments in Ozer’s life, and how he and his loved ones have persevered. He speaks on an incident that led to his father’s incarceration, and references his mother’s attempt at taking her own life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>On the track “Purposeful,” the rapper from Bayview recites, “Shit, I got some skeleton in my footlocker / eye open, I know God not the only one watchin’. / Under fire, smoke in the air, we went through madness / hands full, it’s gettin’ hard to carry the baggage.”\u003c/p>\n\u003cdiv>\n\u003cp>At the end of a track with Lex Culture, “All Falls Down,” Ozer shares an intimate voice note. “I recorded that the night my grandfather died,” Ozer tells me “That takes me back to that night—it was a real moment for me.”\u003c/p>\n\u003cp>He plays with the concept of devils and angels in the song “D & A.” The track is a bit of a double-entendre, referring to humans’ genetic code and how we’re composed of both good and evil.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ozer - Purposeful (Official Music Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/YtD43HD7Lsw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The etymology of the name “Ozer,” also has two paths: one is a biblical reference and the other is slang for moving drugs.\u003c/p>\n\u003cp>As a teenager he sat in a barbershop when one of his father’s friends walked in, asking if he was “Little O?” After confirming that he is indeed his father’s son, the man donned the name “Little Ozer” on him. Little Ozer went back to his father, telling him that he planned on taking his title, “He was like, ‘You know what that means?'”\u003c/p>\n\u003cp>His father explained that they called him Ozer because he used to push a lot of ounces. Then “Little Ozer” did more research on the name, and found that it also means “God’s Helper” in Hebrew.\u003c/p>\n\u003cdiv>“It has a bad meaning and a good meaning, which represents human life in general,” Ozer tells me in the same deep-raspy voice he uses to deliver his lyrics.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cfigure id=\"attachment_13910247\" class=\"wp-caption alignright\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/275064560_152395647170136_2834243853751829814_n.jpg\" alt=\"Ozer rocks the mic with his shirt off.\" width=\"360\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275064560_152395647170136_2834243853751829814_n.jpg 360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275064560_152395647170136_2834243853751829814_n-160x284.jpg 160w\" sizes=\"(max-width: 360px) 100vw, 360px\">\u003cfigcaption class=\"wp-caption-text\">Ozer rocks the mic with his shirt off. \u003ccite>(Ken IV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Destined for this path, Ozer’s grandmother told him he’d be a preacher, but he said it was something he couldn’t foresee. Now as an MC he says he’s reaching people, and he’s looking to keep spreading the word this Wednesday.\u003c/p>\n\u003c/div>\n\u003cdiv>The goal of Family Not a Group’s live shows is to “provide a memorable experience to everybody who comes to the show,” Ozer says. “It’s called ‘a family service,’ so it’s going to make you feel like family, and you’ll have a deeper connection to each artist that you see.”\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>The lineup is full of talented artists I’ve been following. Last year I did \u003ca href=\"https://www.kqed.org/arts/13895377/rightnowish-baghead-cerealforthekids\" target=\"_blank\" rel=\"noopener noreferrer\">a podcast interview\u003c/a> with Baghead, who along with \u003ca href=\"https://www.instagram.com/cerealforthekids/\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal For The Kids\u003c/a>, published a film and audio project called \u003ca href=\"https://www.youtube.com/watch?v=cWmX3Y5GnP8\" target=\"_blank\" rel=\"noopener noreferrer\">“Dedicated To Those Who.”\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13892200/musicians-to-know-jada-imani-on-vibing-with-hawaiian-frogs-and-riffing-off-mac-dre\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a> was the subject of an interview from January of last year. I’ve hosted separate events where both Astu and Afterthought (and the band he’s a part of, The Top Chefs) have performed.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>I’ve also seen performances by a few of the other members of Family Not a Group, but I’ve yet to see Ozer. Before I got off the phone, I let him know that we’ll cross paths in due time. But what I didn’t explicitly tell him is that his words have already reached me—without having seen him in person yet.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/div>\n\u003cdiv>\u003cem>Family Not a Group presents “\u003ca href=\"https://thechapelsf.com/e/269265027947/?utm_source=fb1&utm_medium=shr\" target=\"_blank\" rel=\"noopener noreferrer\">A Family Service\u003c/a>” at The Chapel in San Francisco on March 9, with performances by Ozer, Astu, Jada Imani and Afterthought. \u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can’t stop artists from coming together. Hit ’em with a global pandemic, gas prices that are through the roof, housing costs through the stratosphere and a long list of music venues that have closed down—whatever. \u003cem>Artists are going to be artist\u003c/em>s. They’re going to come together to create, and I’m all here for it.\u003c/p>\n\u003cp>In San Francisco, there’s a very large and extremely talented faction of lyricists, singers, DJs and musicians who are coming together, creating moments and memories, and having fun while doing so.\u003c/p>\n\u003cp>On Wednesday Night the 17-member collective known as \u003ca href=\"https://www.instagram.com/p/CanQJz3PEDZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Family Not A Group\u003c/a> is set to hit the stage, collectively.\u003c/p>\n\u003cfigure id=\"attachment_13910243\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/275101607_1137619633707634_4938611485133538895_n.jpg\" alt=\"The night Family Not a Group came together in New York.\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275101607_1137619633707634_4938611485133538895_n.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275101607_1137619633707634_4938611485133538895_n-160x213.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">The night Family Not a Group came together in New York. \u003ccite>(Via Baghead)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They’re scheduled to perform at The Chapel, and the \u003ca href=\"https://thechapelsf.com/e/269265027947/?utm_source=fb1&utm_medium=shr\" target=\"_blank\" rel=\"noopener noreferrer\">March 9 show\u003c/a> will be the ensemble’s first major performance in their hometown of San Francisco. The show will be headlined by two artists who aren’t officially in the collective, but they’re “family friends”—singer \u003ca href=\"https://www.instagram.com/astu.music/\" target=\"_blank\" rel=\"noopener noreferrer\">Astu\u003c/a> and lyricists-slash-vocalist \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a>. They’ll be flanked by performances from \u003ca href=\"https://www.instagram.com/baghead.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">Baghead\u003c/a>, \u003ca href=\"https://www.instagram.com/aft.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">Afterthought\u003c/a> and \u003ca href=\"https://www.instagram.com/ozersf/\" target=\"_blank\" rel=\"noopener noreferrer\">Ozer, \u003c/a>who are just three of the 17-member conglomerate.\u003c/p>\n\u003cp>Along with Baghead, Afterthought and Ozer, there’s \u003ca href=\"https://www.instagram.com/bae.areash/\" target=\"_blank\" rel=\"noopener noreferrer\">ASH\u003c/a>, \u003ca href=\"https://www.instagram.com/serg.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">Serg2x\u003c/a>, \u003ca href=\"https://www.instagram.com/everybodylovezmike/\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Evans Jr.\u003c/a>, \u003ca href=\"https://www.instagram.com/thejenset/\" target=\"_blank\" rel=\"noopener noreferrer\">Jenset\u003c/a>, \u003ca href=\"https://www.instagram.com/maya_canales/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Canales\u003c/a>, \u003ca href=\"https://www.instagram.com/captain_cuadra/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand-O\u003c/a>, \u003ca href=\"https://www.instagram.com/maddamcyn/\" target=\"_blank\" rel=\"noopener noreferrer\">Cynny\u003c/a>, \u003ca href=\"https://www.instagram.com/professagabel/\" target=\"_blank\" rel=\"noopener noreferrer\">Professa Gabel\u003c/a>, \u003ca href=\"https://www.instagram.com/ap.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>, \u003ca href=\"https://www.instagram.com/kaly_incognegreaux/\" target=\"_blank\" rel=\"noopener noreferrer\">Kaly Jay\u003c/a>, \u003ca href=\"https://www.instagram.com/sayheykiid/\" target=\"_blank\" rel=\"noopener noreferrer\">DJSAY\u003c/a>, \u003ca href=\"https://www.instagram.com/shotbyjesstarantino/\" target=\"_blank\" rel=\"noopener noreferrer\">JessTarantino\u003c/a>, \u003ca href=\"https://www.instagram.com/sunday.fng/\" target=\"_blank\" rel=\"noopener noreferrer\">SundaY\u003c/a> and \u003ca href=\"https://www.instagram.com/easweh/\" target=\"_blank\" rel=\"noopener noreferrer\">EaSWay\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The majority of the camp is from the City, with some folks hailing from other areas of the Bay, but the team’s origin story starts at a show in the Big Apple.\u003c/p>\n\u003cp>“When we went to New York, we performed at East Berlin,” Ozer tells me during a phone call. The crew did a show called “The Frisco Invasion” at the intimate, popular venue in The East Village. A couple things went wrong. Notably, the computer died before the show started and required someone to make an hour-long trek to get a replacement. But the show was good.\u003c/p>\n\u003cp>“I can’t remember if it was the venue manager or the sound engineer, but they said we killed it,” Ozer reflects. “The next day we talked amongst ourselves and said we’ve got something special here… and that’s how Family Not a Group was born.”\u003c/p>\n\u003cfigure id=\"attachment_13910246\" class=\"wp-caption alignnone\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910246\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/274938446_2055319477973887_2719572190814469886_n.jpg\" alt=\"Family Not a Group members pose for a photo while rocking a show in San Francisco last year. \" width=\"480\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/274938446_2055319477973887_2719572190814469886_n.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/274938446_2055319477973887_2719572190814469886_n-160x120.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Family Not a Group members pose for a photo while rocking a show in San Francisco last year. \u003ccite>(Via Baghead)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before that show, the nucleus had been forming. The individual artists would constantly support one another, showing up to performances and appearing on each other’s projects.\u003c/p>\n\u003cp>On Ozer’s latest album, \u003cem>Lost In Translation\u003c/em>, which dropped in July of last year, there are appearances from crew members Kaly Jay, EaSWay, Professa Gabel and more. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project is a lyrical exploration into some of the darker moments in Ozer’s life, and how he and his loved ones have persevered. He speaks on an incident that led to his father’s incarceration, and references his mother’s attempt at taking her own life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the track “Purposeful,” the rapper from Bayview recites, “Shit, I got some skeleton in my footlocker / eye open, I know God not the only one watchin’. / Under fire, smoke in the air, we went through madness / hands full, it’s gettin’ hard to carry the baggage.”\u003c/p>\n\u003cdiv>\n\u003cp>At the end of a track with Lex Culture, “All Falls Down,” Ozer shares an intimate voice note. “I recorded that the night my grandfather died,” Ozer tells me “That takes me back to that night—it was a real moment for me.”\u003c/p>\n\u003cp>He plays with the concept of devils and angels in the song “D & A.” The track is a bit of a double-entendre, referring to humans’ genetic code and how we’re composed of both good and evil.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ozer - Purposeful (Official Music Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/YtD43HD7Lsw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The etymology of the name “Ozer,” also has two paths: one is a biblical reference and the other is slang for moving drugs.\u003c/p>\n\u003cp>As a teenager he sat in a barbershop when one of his father’s friends walked in, asking if he was “Little O?” After confirming that he is indeed his father’s son, the man donned the name “Little Ozer” on him. Little Ozer went back to his father, telling him that he planned on taking his title, “He was like, ‘You know what that means?'”\u003c/p>\n\u003cp>His father explained that they called him Ozer because he used to push a lot of ounces. Then “Little Ozer” did more research on the name, and found that it also means “God’s Helper” in Hebrew.\u003c/p>\n\u003cdiv>“It has a bad meaning and a good meaning, which represents human life in general,” Ozer tells me in the same deep-raspy voice he uses to deliver his lyrics.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cfigure id=\"attachment_13910247\" class=\"wp-caption alignright\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/275064560_152395647170136_2834243853751829814_n.jpg\" alt=\"Ozer rocks the mic with his shirt off.\" width=\"360\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275064560_152395647170136_2834243853751829814_n.jpg 360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/275064560_152395647170136_2834243853751829814_n-160x284.jpg 160w\" sizes=\"(max-width: 360px) 100vw, 360px\">\u003cfigcaption class=\"wp-caption-text\">Ozer rocks the mic with his shirt off. \u003ccite>(Ken IV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Destined for this path, Ozer’s grandmother told him he’d be a preacher, but he said it was something he couldn’t foresee. Now as an MC he says he’s reaching people, and he’s looking to keep spreading the word this Wednesday.\u003c/p>\n\u003c/div>\n\u003cdiv>The goal of Family Not a Group’s live shows is to “provide a memorable experience to everybody who comes to the show,” Ozer says. “It’s called ‘a family service,’ so it’s going to make you feel like family, and you’ll have a deeper connection to each artist that you see.”\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>The lineup is full of talented artists I’ve been following. Last year I did \u003ca href=\"https://www.kqed.org/arts/13895377/rightnowish-baghead-cerealforthekids\" target=\"_blank\" rel=\"noopener noreferrer\">a podcast interview\u003c/a> with Baghead, who along with \u003ca href=\"https://www.instagram.com/cerealforthekids/\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal For The Kids\u003c/a>, published a film and audio project called \u003ca href=\"https://www.youtube.com/watch?v=cWmX3Y5GnP8\" target=\"_blank\" rel=\"noopener noreferrer\">“Dedicated To Those Who.”\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13892200/musicians-to-know-jada-imani-on-vibing-with-hawaiian-frogs-and-riffing-off-mac-dre\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a> was the subject of an interview from January of last year. I’ve hosted separate events where both Astu and Afterthought (and the band he’s a part of, The Top Chefs) have performed.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>I’ve also seen performances by a few of the other members of Family Not a Group, but I’ve yet to see Ozer. Before I got off the phone, I let him know that we’ll cross paths in due time. But what I didn’t explicitly tell him is that his words have already reached me—without having seen him in person yet.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/div>\n\u003cdiv>\u003cem>Family Not a Group presents “\u003ca href=\"https://thechapelsf.com/e/269265027947/?utm_source=fb1&utm_medium=shr\" target=\"_blank\" rel=\"noopener noreferrer\">A Family Service\u003c/a>” at The Chapel in San Francisco on March 9, with performances by Ozer, Astu, Jada Imani and Afterthought. \u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "2,000 Degrees: Glassblowing in the Bayview",
"headTitle": "2,000 Degrees: Glassblowing in the Bayview | KQED",
"content": "\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=KQINC8427110033\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The art of glassblowing dates back to the first century AD. But these days you can see it practiced as artist sculpt molten glass with steel tools to create everything from high-priced chandeliers to inexpensive Christmas ornaments. It’s nothing short of alchemy. And though many of the techniques have been around for centuries, I’m not sure old school glassblowers were making \u003ca href=\"https://www.instagram.com/p/CNsiCHCnfpw/\">glass carnivorous plants\u003c/a> to decorate their walls.\u003c/p>\n\u003cp>At San Francisco’s \u003ca href=\"https://www.publicglass.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Public Glass\u003c/a>, locals have the opportunity to get hands on experience in this ancient and evolving craft.\u003c/p>\n\u003cp>The organization’s executive director, Nathan Watson, says his mission is to ensure that Public Glass isn’t just located in the Bayview neighborhood, but actually involves community members in their work.\u003c/p>\n\u003cfigure id=\"attachment_13903235\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903235\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Image-from-iOS-12-800x535.jpg\" alt=\"Nathan Watson, Executive Director of Public Glass, poses for a photo as he wears a white t-shirt and a bandana around his neck.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Watson, Executive Director of Public Glass. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just last month, Public Glass completed their \u003ca href=\"https://www.instagram.com/p/CSpvJ4spjmk/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayview Gateway Project,\u003c/a> a set of eight-foot tall concrete letters adorned with mosaic tiles made from old glass objects that community members donated; the letters read “BAYVIEW” and are located at \u003cspan style=\"font-weight: 400\">Third Street and Meade Avenue. \u003c/span>\u003c/p>\n\u003cp>Although some glassblowing artists have recently returned to the studio, traditional classes aren’t currently open to the public due to COVID-19 safety precautions. But the organization will be hosting an \u003ca href=\"https://www.instagram.com/p/CTk1jyeP7i6/\" target=\"_blank\" rel=\"noopener noreferrer\">open house on October 16 and 17.\u003c/a>\u003c/p>\n\u003cp>Ahead of that event, the Rightnowish team caught up with Nate inside the glassblowing studio, and discussed what it means to lead an organization that’s keeping this ancient art form going by bringing community members into the fold.\u003c/p>\n\u003cfigure id=\"attachment_13903237\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Image-from-iOS-12-copy-800x535.jpg\" alt=\"Taking some molten glass out of a fiery glory hole in preparation to mold it into a a beautiful object.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taking some molten glass out of a fiery glory hole in preparation to mold it into a a beautiful object. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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=KQINC8427110033\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The art of glassblowing dates back to the first century AD. But these days you can see it practiced as artist sculpt molten glass with steel tools to create everything from high-priced chandeliers to inexpensive Christmas ornaments. It’s nothing short of alchemy. And though many of the techniques have been around for centuries, I’m not sure old school glassblowers were making \u003ca href=\"https://www.instagram.com/p/CNsiCHCnfpw/\">glass carnivorous plants\u003c/a> to decorate their walls.\u003c/p>\n\u003cp>At San Francisco’s \u003ca href=\"https://www.publicglass.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Public Glass\u003c/a>, locals have the opportunity to get hands on experience in this ancient and evolving craft.\u003c/p>\n\u003cp>The organization’s executive director, Nathan Watson, says his mission is to ensure that Public Glass isn’t just located in the Bayview neighborhood, but actually involves community members in their work.\u003c/p>\n\u003cfigure id=\"attachment_13903235\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903235\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Image-from-iOS-12-800x535.jpg\" alt=\"Nathan Watson, Executive Director of Public Glass, poses for a photo as he wears a white t-shirt and a bandana around his neck.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Watson, Executive Director of Public Glass. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just last month, Public Glass completed their \u003ca href=\"https://www.instagram.com/p/CSpvJ4spjmk/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayview Gateway Project,\u003c/a> a set of eight-foot tall concrete letters adorned with mosaic tiles made from old glass objects that community members donated; the letters read “BAYVIEW” and are located at \u003cspan style=\"font-weight: 400\">Third Street and Meade Avenue. \u003c/span>\u003c/p>\n\u003cp>Although some glassblowing artists have recently returned to the studio, traditional classes aren’t currently open to the public due to COVID-19 safety precautions. But the organization will be hosting an \u003ca href=\"https://www.instagram.com/p/CTk1jyeP7i6/\" target=\"_blank\" rel=\"noopener noreferrer\">open house on October 16 and 17.\u003c/a>\u003c/p>\n\u003cp>Ahead of that event, the Rightnowish team caught up with Nate inside the glassblowing studio, and discussed what it means to lead an organization that’s keeping this ancient art form going by bringing community members into the fold.\u003c/p>\n\u003cfigure id=\"attachment_13903237\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Image-from-iOS-12-copy-800x535.jpg\" alt=\"Taking some molten glass out of a fiery glory hole in preparation to mold it into a a beautiful object.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taking some molten glass out of a fiery glory hole in preparation to mold it into a a beautiful object. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>\u003c/div>",
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"content": "\u003cp>When Kate Connell and Oscar Melara, also known as the artist collaborative Book and Wheel, unveiled \u003ci>\u003ca href=\"http://bookandwheel.org/project/chispa/\" target=\"_blank\" rel=\"noopener noreferrer\">Chispa\u003c/a>\u003c/i>, they had big plans for the future of their colorfully painted, roving art cart. (“We like to think of it as an independent float,” says Connell.) On its first outing in August 2019 at the Visitacion Valley Greenway’s Peace & Unity Festival, \u003ci>Chispa\u003c/i> was the centerpiece of invocations, music and artwork, including a display of botanical drawings by one of the Greenway’s founders, \u003ca href=\"http://bookandwheel.org/artists/anne-seeman/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Seeman\u003c/a>.\u003c/p>\n\u003cp>But the giant, teal cart would only appear in public once more before the pandemic put a halt to community gatherings.\u003c/p>\n\u003cp>“We were pretty excited after that event,” Connell says of the second, even larger production, a September 2019 Autumn Moon festival in McLaren Park. “We had a lot of momentum going—and then COVID happened.”\u003c/p>\n\u003cfigure id=\"attachment_13894143\" class=\"wp-caption aligncenter\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1.jpeg\" alt=\"\" width=\"920\" height=\"613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1.jpeg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1-768x512.jpeg 768w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">Kate Connell and Oscar Melara in their project ‘Moving Art House’ on the Mexican Bus in 2015. \u003ccite>(Sibila Savage; courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now Connell and Melara, whose collaborative name is a shout-out to their former positions as a librarian and bus driver, have rethought one of \u003ci>Chispa\u003c/i>’s central projects—building a portfolio of work by artists from Southeast San Francisco—into a format suited to pandemic-mandated restrictions. With \u003ci>\u003ca href=\"http://bookandwheel.org/project/trade/\" target=\"_blank\" rel=\"noopener noreferrer\">We Trade\u003c/a>\u003c/i>, they’re exchanging artwork by residents of Bayview/Hunters Point, the Excelsior District, the Portola and Visitacion Valley with anyone who mails Book and Wheel a creative work of their own.\u003c/p>\n\u003cp>“One thing we really like about this that we couldn’t do with \u003ci>Chispa\u003c/i> is the range of things that people can trade us,” Connell says, naming playlists, recipes, photographic prints, poems and song lyrics. “Someone sent us a short-run artist book. Someone else in the neighborhood made neighborhood-specific stickers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>Southeast San Francisco Artists Portfolio\u003c/em> now contains the work of around 50 artists. “The artists range in age, from their 20s to their 70s, and that’s something that’s really important to us,” Connell says, adding they also work to make the cohort “culturally reflective of the Southeast.”\u003c/p>\n\u003cp>The plan is to build a cultural archive of a part of San Francisco that is often quite literally left off the map. (Many, particularly those meant for tourists, stop at Cesar Chavez or even farther north.)\u003c/p>\n\u003cfigure id=\"attachment_13894105\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SESF_1200.jpg\" alt=\"\" width=\"1200\" height=\"904\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-768x579.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Connell, Oscar Melara and Sofía Vivanco Airaghi’s ‘The Cultural Map of Southeast San Francisco,’ first designed in 2016, is now in its third edition. \u003ccite>(Courtesy Book and Wheel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the prints \u003ci>We Trade\u003c/i> participants can choose from is a direct response to that omission: a participatory map of Southeast San Francisco created by Connell, Melara, Sofía Vivanco Airaghi and over 200 participants since 2016. It identifies art and performance spaces, parks and athletic fields, as well the locations of significant historical events. The map visually groups the four Southeast neighborhoods as an interconnected corner of the city.\u003c/p>\n\u003cp>Connell says when she and Melara first moved to the Portola District from the Mission over 25 years ago, it took them time to adjust to the lack of nearby cultural institutions—or what they thought of \u003ci>then\u003c/i> as cultural institutions. \u003ci>\u003ca href=\"http://bookandwheel.org/project/the-cultural-map-of-southeast-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">The Cultural Map of Southeast San Francisco\u003c/a>\u003c/i> demonstrates that a “cultural institution” isn’t always a formal, physical arts center.\u003c/p>\n\u003cp>Other \u003ci>We Trade\u003c/i> prints include work by \u003ca href=\"http://bookandwheel.org/artists/juan-fuentes/\" target=\"_blank\" rel=\"noopener noreferrer\">Juan Fuentes\u003c/a>, \u003ca href=\"http://bookandwheel.org/artists/sarah-a-smith/\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Smith\u003c/a> and \u003ca href=\"http://bookandwheel.org/artists/charles-dabo/\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Dabo\u003c/a>—all ready to fit into a standard letter-sized envelope.\u003c/p>\n\u003cfigure id=\"attachment_13894154\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/What-You-Traded-Us008_1200.jpg\" alt=\"\" width=\"1200\" height=\"1492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-1020x1268.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-768x955.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Drawing by a young participant traded to Book and Wheel for a print from the ‘Southeast San Francisco Artists Portfolio.’ \u003ccite>(Courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Connell in particular enjoys visiting their post office box and checking on submissions, for artists rooted in the social aspect of social practice, exchange-by-mail isn’t quite the same. “When this was with \u003ci>Chispa\u003c/i>, we would be out in the street posting posters, talking to people, handing out postcards—just having as many conversations as possible,” she says.\u003c/p>\n\u003cp>“Right now it’s several steps removed,” Melara agrees. “There’s this weird tension between public projects and sheltering in place.” They miss the excitement of explaining \u003ci>Chispa\u003c/i> to people, hearing what they think and encouraging them to engage.\u003c/p>\n\u003cp>Thankfully, building the \u003cem>Southeast San Francisco Artists Portfolio\u003c/em> while in isolation has been an outlet for these desires. Part of \u003ci>Chispa\u003c/i>’s funding, from Southern Exposure’s Alternative Exposure grant, was earmarked for artist commissions, and Book and Wheel was still able to make use of that money over the past year.\u003c/p>\n\u003cp>“There were dark days when we realized we couldn’t take \u003ci>Chispa\u003c/i> back out for the foreseeable future,” Connell says, “and just the idea that we still had money to build the portfolio, get money to artists who needed it—even though it’s a modest sum—is kind of what really made it possible to think about where to go with it.”\u003c/p>\n\u003cfigure id=\"attachment_13894153\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200.jpg\" alt=\"\" width=\"1200\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-800x708.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-1020x903.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-768x680.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Visual artist Kaiya Canja Wong Jones and drag storyteller Severa Wang at the September 2019 Autumn Moon Festival. \u003ccite>(Photo by Sibila Savage; courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And even without an event on the horizon, they’re still putting up posters (currently featuring the work of \u003ca href=\"http://bookandwheel.org/artists/kaiya-canja-wong-jones/\" target=\"_blank\" rel=\"noopener noreferrer\">Kaiya Canja Wong Jones\u003c/a>, a young artist from the Portola), to spread the word about \u003ci>We Trade\u003c/i> beyond the confines of social media and email inboxes.\u003c/p>\n\u003cp>Running out of prints to exchange is a problem Connell and Melara welcome—with 500–1,000 copies of each artwork made in expectation of large public events and regular Sunday Streets appearances, Book and Wheel is excited to get the \u003cem>Southeast San Francisco Artists Portfolio\u003c/em> into wider circulation.\u003c/p>\n\u003cp>And what will they do with the objects they receive? “Kate has talked about a—what would you call it?” asks Melara.\u003c/p>\n\u003cp>“A stately zine!” she says. “An exhibition would be great.”\u003c/p>\n\u003cp>Some of the artworks sent in for prints may even come from farther afield—a classroom in northern Quebec has promised to send drawings—but Book and Wheel is fine with that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Sending out art from the Southeast lets people know who’s working here,” Connell says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Kate Connell and Oscar Melara, also known as the artist collaborative Book and Wheel, unveiled \u003ci>\u003ca href=\"http://bookandwheel.org/project/chispa/\" target=\"_blank\" rel=\"noopener noreferrer\">Chispa\u003c/a>\u003c/i>, they had big plans for the future of their colorfully painted, roving art cart. (“We like to think of it as an independent float,” says Connell.) On its first outing in August 2019 at the Visitacion Valley Greenway’s Peace & Unity Festival, \u003ci>Chispa\u003c/i> was the centerpiece of invocations, music and artwork, including a display of botanical drawings by one of the Greenway’s founders, \u003ca href=\"http://bookandwheel.org/artists/anne-seeman/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Seeman\u003c/a>.\u003c/p>\n\u003cp>But the giant, teal cart would only appear in public once more before the pandemic put a halt to community gatherings.\u003c/p>\n\u003cp>“We were pretty excited after that event,” Connell says of the second, even larger production, a September 2019 Autumn Moon festival in McLaren Park. “We had a lot of momentum going—and then COVID happened.”\u003c/p>\n\u003cfigure id=\"attachment_13894143\" class=\"wp-caption aligncenter\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1.jpeg\" alt=\"\" width=\"920\" height=\"613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1.jpeg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1-768x512.jpeg 768w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">Kate Connell and Oscar Melara in their project ‘Moving Art House’ on the Mexican Bus in 2015. \u003ccite>(Sibila Savage; courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now Connell and Melara, whose collaborative name is a shout-out to their former positions as a librarian and bus driver, have rethought one of \u003ci>Chispa\u003c/i>’s central projects—building a portfolio of work by artists from Southeast San Francisco—into a format suited to pandemic-mandated restrictions. With \u003ci>\u003ca href=\"http://bookandwheel.org/project/trade/\" target=\"_blank\" rel=\"noopener noreferrer\">We Trade\u003c/a>\u003c/i>, they’re exchanging artwork by residents of Bayview/Hunters Point, the Excelsior District, the Portola and Visitacion Valley with anyone who mails Book and Wheel a creative work of their own.\u003c/p>\n\u003cp>“One thing we really like about this that we couldn’t do with \u003ci>Chispa\u003c/i> is the range of things that people can trade us,” Connell says, naming playlists, recipes, photographic prints, poems and song lyrics. “Someone sent us a short-run artist book. Someone else in the neighborhood made neighborhood-specific stickers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>Southeast San Francisco Artists Portfolio\u003c/em> now contains the work of around 50 artists. “The artists range in age, from their 20s to their 70s, and that’s something that’s really important to us,” Connell says, adding they also work to make the cohort “culturally reflective of the Southeast.”\u003c/p>\n\u003cp>The plan is to build a cultural archive of a part of San Francisco that is often quite literally left off the map. (Many, particularly those meant for tourists, stop at Cesar Chavez or even farther north.)\u003c/p>\n\u003cfigure id=\"attachment_13894105\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SESF_1200.jpg\" alt=\"\" width=\"1200\" height=\"904\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-768x579.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Connell, Oscar Melara and Sofía Vivanco Airaghi’s ‘The Cultural Map of Southeast San Francisco,’ first designed in 2016, is now in its third edition. \u003ccite>(Courtesy Book and Wheel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the prints \u003ci>We Trade\u003c/i> participants can choose from is a direct response to that omission: a participatory map of Southeast San Francisco created by Connell, Melara, Sofía Vivanco Airaghi and over 200 participants since 2016. It identifies art and performance spaces, parks and athletic fields, as well the locations of significant historical events. The map visually groups the four Southeast neighborhoods as an interconnected corner of the city.\u003c/p>\n\u003cp>Connell says when she and Melara first moved to the Portola District from the Mission over 25 years ago, it took them time to adjust to the lack of nearby cultural institutions—or what they thought of \u003ci>then\u003c/i> as cultural institutions. \u003ci>\u003ca href=\"http://bookandwheel.org/project/the-cultural-map-of-southeast-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">The Cultural Map of Southeast San Francisco\u003c/a>\u003c/i> demonstrates that a “cultural institution” isn’t always a formal, physical arts center.\u003c/p>\n\u003cp>Other \u003ci>We Trade\u003c/i> prints include work by \u003ca href=\"http://bookandwheel.org/artists/juan-fuentes/\" target=\"_blank\" rel=\"noopener noreferrer\">Juan Fuentes\u003c/a>, \u003ca href=\"http://bookandwheel.org/artists/sarah-a-smith/\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Smith\u003c/a> and \u003ca href=\"http://bookandwheel.org/artists/charles-dabo/\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Dabo\u003c/a>—all ready to fit into a standard letter-sized envelope.\u003c/p>\n\u003cfigure id=\"attachment_13894154\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/What-You-Traded-Us008_1200.jpg\" alt=\"\" width=\"1200\" height=\"1492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-1020x1268.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-768x955.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Drawing by a young participant traded to Book and Wheel for a print from the ‘Southeast San Francisco Artists Portfolio.’ \u003ccite>(Courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Connell in particular enjoys visiting their post office box and checking on submissions, for artists rooted in the social aspect of social practice, exchange-by-mail isn’t quite the same. “When this was with \u003ci>Chispa\u003c/i>, we would be out in the street posting posters, talking to people, handing out postcards—just having as many conversations as possible,” she says.\u003c/p>\n\u003cp>“Right now it’s several steps removed,” Melara agrees. “There’s this weird tension between public projects and sheltering in place.” They miss the excitement of explaining \u003ci>Chispa\u003c/i> to people, hearing what they think and encouraging them to engage.\u003c/p>\n\u003cp>Thankfully, building the \u003cem>Southeast San Francisco Artists Portfolio\u003c/em> while in isolation has been an outlet for these desires. Part of \u003ci>Chispa\u003c/i>’s funding, from Southern Exposure’s Alternative Exposure grant, was earmarked for artist commissions, and Book and Wheel was still able to make use of that money over the past year.\u003c/p>\n\u003cp>“There were dark days when we realized we couldn’t take \u003ci>Chispa\u003c/i> back out for the foreseeable future,” Connell says, “and just the idea that we still had money to build the portfolio, get money to artists who needed it—even though it’s a modest sum—is kind of what really made it possible to think about where to go with it.”\u003c/p>\n\u003cfigure id=\"attachment_13894153\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200.jpg\" alt=\"\" width=\"1200\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-800x708.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-1020x903.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-768x680.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Visual artist Kaiya Canja Wong Jones and drag storyteller Severa Wang at the September 2019 Autumn Moon Festival. \u003ccite>(Photo by Sibila Savage; courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And even without an event on the horizon, they’re still putting up posters (currently featuring the work of \u003ca href=\"http://bookandwheel.org/artists/kaiya-canja-wong-jones/\" target=\"_blank\" rel=\"noopener noreferrer\">Kaiya Canja Wong Jones\u003c/a>, a young artist from the Portola), to spread the word about \u003ci>We Trade\u003c/i> beyond the confines of social media and email inboxes.\u003c/p>\n\u003cp>Running out of prints to exchange is a problem Connell and Melara welcome—with 500–1,000 copies of each artwork made in expectation of large public events and regular Sunday Streets appearances, Book and Wheel is excited to get the \u003cem>Southeast San Francisco Artists Portfolio\u003c/em> into wider circulation.\u003c/p>\n\u003cp>And what will they do with the objects they receive? “Kate has talked about a—what would you call it?” asks Melara.\u003c/p>\n\u003cp>“A stately zine!” she says. “An exhibition would be great.”\u003c/p>\n\u003cp>Some of the artworks sent in for prints may even come from farther afield—a classroom in northern Quebec has promised to send drawings—but Book and Wheel is fine with that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Sending out art from the Southeast lets people know who’s working here,” Connell says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tongo Eisen-Martin Selected as San Francisco's Poet Laureate",
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"content": "\u003cp>Tongo Eisen-Martin has been chosen as the eighth San Francisco Poet Laureate, Mayor London Breed announced Friday. Nominated by a selection committee made up of nine city officials, prior Poets Laureate, and members of the Bay Area literary community, Eisen-Martin will succeed Kim Shuck in the position. \u003c/p>\n\u003cp>In her announcement on Friday morning, Mayor Breed highlighted not only Eisen-Martin’s literary talents but his long history of giving back to San Francisco’s young people. “I’ve had the pleasure of working with Tongo when he was a teaching artist at the African American Arts and Culture complex, and I’ve seen his remarkable ability to spur creativity in youth and inspire them to find their own voice,” said Mayor Breed. “His work on racial justice and equity, along with his commitment to promoting social and cultural change, comes at such a critical time for our city and our country.”\u003c/p>\n\u003cp>Born and raised in San Francisco, Eisen-Martin is the founder of Black Freighter Press. His 2017 book \u003cem>\u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800&fa=reviews\" rel=\"noopener noreferrer\" target=\"_blank\">Heaven Is All Goodbyes\u003c/a>\u003c/em> (City Lights) received the 2018 California Book Award for poetry, a 2018 American Book Award, and was shortlisted for the Griffin Poetry Prize. (In \u003ca href=\"https://www.kqed.org/arts/13806398/poems-for-the-end-of-the-world\" rel=\"noopener noreferrer\" target=\"_blank\">a review\u003c/a> of \u003cem>Heaven is All Goodbyes\u003c/em> in 2017, KQED hailed Eisen-Martin’s cadences as “polyphonic, gritty, and unexpectedly fragile, like jazz.”)[aside postID='arts_13806398']\u003c/p>\n\u003cp>“San Francisco has legends too fearless for me to count myself as one of them, but I am from this collection of thousands and thousands of participants in revolutionary history and culture,” Eisen-Martin said in his inaugural address. “What the people here taught me is that unity is the only thing, and that individualism as it is practiced, codified, and romanticized… at its core is about selective humanization.” \u003c/p>\n\u003cp>Tongo Eisen-Martin described himself and his work as “an absolute product of every nook and cranny of San Francisco,” adding that “as deep into the various communities of the city as our poets have already brought the craft, I want to push even further into places where poetry has not yet permeated.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eisen-Martin has certainly pushed the boundaries of that permeation throughout his career, utilizing art and poetry in his education and movement work. His curriculum on the extrajudicial killing of Black people, \u003cem>We Charge Genocide Again!\u003c/em> at the Institute for Research in African American Studies at Columbia University, has been taught across the nation, and he has taught at various detention centers throughout the United States.\u003c/p>\n\u003cp>In his time as Poet Laureate, Eisen-Martin intends to organize poetry reading circles in Sunnydale, Bayview-Hunters Point, and the Tenderloin, as well as seek out and foster San Francisco artists from marginalized communities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eisen-Martin’s as-yet-titled second book in the City Lights Pocket Poet series will be released in the fall of 2021.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tongo Eisen-Martin has been chosen as the eighth San Francisco Poet Laureate, Mayor London Breed announced Friday. Nominated by a selection committee made up of nine city officials, prior Poets Laureate, and members of the Bay Area literary community, Eisen-Martin will succeed Kim Shuck in the position. \u003c/p>\n\u003cp>In her announcement on Friday morning, Mayor Breed highlighted not only Eisen-Martin’s literary talents but his long history of giving back to San Francisco’s young people. “I’ve had the pleasure of working with Tongo when he was a teaching artist at the African American Arts and Culture complex, and I’ve seen his remarkable ability to spur creativity in youth and inspire them to find their own voice,” said Mayor Breed. “His work on racial justice and equity, along with his commitment to promoting social and cultural change, comes at such a critical time for our city and our country.”\u003c/p>\n\u003cp>Born and raised in San Francisco, Eisen-Martin is the founder of Black Freighter Press. His 2017 book \u003cem>\u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800&fa=reviews\" rel=\"noopener noreferrer\" target=\"_blank\">Heaven Is All Goodbyes\u003c/a>\u003c/em> (City Lights) received the 2018 California Book Award for poetry, a 2018 American Book Award, and was shortlisted for the Griffin Poetry Prize. (In \u003ca href=\"https://www.kqed.org/arts/13806398/poems-for-the-end-of-the-world\" rel=\"noopener noreferrer\" target=\"_blank\">a review\u003c/a> of \u003cem>Heaven is All Goodbyes\u003c/em> in 2017, KQED hailed Eisen-Martin’s cadences as “polyphonic, gritty, and unexpectedly fragile, like jazz.”)\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“San Francisco has legends too fearless for me to count myself as one of them, but I am from this collection of thousands and thousands of participants in revolutionary history and culture,” Eisen-Martin said in his inaugural address. “What the people here taught me is that unity is the only thing, and that individualism as it is practiced, codified, and romanticized… at its core is about selective humanization.” \u003c/p>\n\u003cp>Tongo Eisen-Martin described himself and his work as “an absolute product of every nook and cranny of San Francisco,” adding that “as deep into the various communities of the city as our poets have already brought the craft, I want to push even further into places where poetry has not yet permeated.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eisen-Martin has certainly pushed the boundaries of that permeation throughout his career, utilizing art and poetry in his education and movement work. His curriculum on the extrajudicial killing of Black people, \u003cem>We Charge Genocide Again!\u003c/em> at the Institute for Research in African American Studies at Columbia University, has been taught across the nation, and he has taught at various detention centers throughout the United States.\u003c/p>\n\u003cp>In his time as Poet Laureate, Eisen-Martin intends to organize poetry reading circles in Sunnydale, Bayview-Hunters Point, and the Tenderloin, as well as seek out and foster San Francisco artists from marginalized communities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eisen-Martin’s as-yet-titled second book in the City Lights Pocket Poet series will be released in the fall of 2021.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the past three months, San Francisco’s \u003ca href=\"https://www.instagram.com/jamaltrulove/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a> has been working with \u003ca href=\"https://www.gofundme.com/f/gqgve-hand-sanitizer-for-vulnerable-groups-amid-covid19\" target=\"_blank\" rel=\"noopener noreferrer\">UCSF’s Science Policy Group\u003c/a> in order to get masks, hand sanitizer and information to groups that have been most impacted by COVID-19.\u003c/p>\n\u003cp>You might’ve heard a little bit about Trulove’s story.\u003c/p>\n\u003cp>He’s an actor, who played the role of Kofi in the 2019 film, \u003ca style=\"color: #41a62a\" href=\"https://a24films.com/films/the-last-black-man-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>. He’s a rapper, under the stage name 10MilliMilli, he’s dropped a handful of songs, and is working on more.\u003c/p>\n\u003cp>And last year he was awarded a\u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\"> multi-million dollar settlement\u003c/a> in a case with the SFPD, after being framed and falsely imprisoned for a 2007 murder; a case that led to him serving over six years behind bars. Since then, \u003ca href=\"https://www.huffpost.com/entry/framed-by-police-prison-jamal-trulove_n_5d0bea68e4b07ae90d9a5b3b\" target=\"_blank\" rel=\"noopener noreferrer\">he’s been vocal\u003c/a> about that case and the prison system.\u003c/p>\n\u003cp>This week on Rightnowish, we talk to Trulove about what politicized him as a teen, to what it means to leverage relationships and star-power in order to serve his community– in San Francisco and behind bars– in the midst of a pandemic.\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=KQINC8284293744&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Jamal Trulove.\u003c/strong>\u003c/p>\n\u003cp>Jamal: I think it’s important to play a grass root position in all of this. Coming from project housing in San Francisco to be able to be that person on the front line to help out with our communities, such as mine and beyond. They say every hood is the same, you know, just in a different location.\u003c/p>\n\u003cp>\u003cem>Pen: When you’re out there on the streets or when you’re out even in the prisons, how are people responding to you?\u003c/em>\u003c/p>\n\u003cp>Jamal: Well, they’re not actually letting us in. You know, they’re swinging us around the side and just like dropping off the bottles and getting it to ‘em. Obviously, we would have loved to go inside. But I mean, look, I lived in those prisons, man. And it ain’t no good. It’s a health hazard all the way through, especially in San Quentin, especially in old Folsom. And it’s like, least they could do was accept this hand sanitizer. We appreciate that they even accepted it because there’s some jails and prisons who haven’t accepted it. We’re hoping that they change their mind. But I do get phone calls, you know, from cats, that’s in San Quentin and also in Folsom. Like, “Right on, bruh. Good luck, you really doing it. You know, you’re doing it for us, you understand, like,” I’ve been getting a lot of big, phone calls and thank you’s and stuff like that from people on the inside.\u003c/p>\n\u003cfigure id=\"attachment_13881175\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/vlcsnap-2020-05-27-17h35m22s927-800x450.jpg\" alt=\"Rapper and actor Jamal Trulove leverages his star-power to serve his community in the midst of the COVID-19 pandemic.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/vlcsnap-2020-05-27-17h35m22s927-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/vlcsnap-2020-05-27-17h35m22s927-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/vlcsnap-2020-05-27-17h35m22s927-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/vlcsnap-2020-05-27-17h35m22s927-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/vlcsnap-2020-05-27-17h35m22s927.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and actor Jamal Trulove leverages his star-power to serve his community in the midst of the COVID-19 pandemic. \u003ccite>(Amir Clark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: What you’re doing right now, both in terms of the activism and the art, it’s almost like you’re in the role of a model.\u003c/em>\u003c/p>\n\u003cp>Jamal: Yea, but like, you know, like the great Tupac said, “I don’t want to be a role model, because a role model plays a role. I want to be a real model.”\u003c/p>\n\u003cp>Jamal: I remember being in those projects you know, not really caring about my life. You know, having nihilism in my blood where I don’t care if I die or if I had to shoot somebody, you know. I had no option. And I had no resources. And, you know, the projects and the hood, It’s a scary place, man. A scary place. So I want to be able to use my platform and my image to show the kids in the youth that’s coming up in these communities. Even people my age, you can change. Now, you too can rise above.\u003c/p>\n\u003cp>\u003cem>Pen: At what point in your life did you become interested in politics or even community activism?\u003c/em>\u003c/p>\n\u003cp>Jamal: I’ve been into politics ever since the World Trade Center got hit.\u003c/p>\n\u003cp>\u003cem>Pen: Yeah?\u003c/em>\u003c/p>\n\u003cp>Jamal: I’ve been in politics, watching the news, and just being aware. I was actually in juvenile hall when it happened. And they had us locked down where they were gonna leave, as they said, if something happened in San Francisco, they would just dart out. And that’s when I start paying attention to the news. A whole lot. And then I started learning about who this president was, all of these different things. I’m like, whoa! Like, I thought this person was really cool, but then turned to find out that this person ain’t cool. And then it just ended up being something that I’ve just found a lot of interest in.\u003c/p>\n\u003cp>\u003cem>Pen: Yeah, and then from there, you said it’s just been growing. huh?\u003c/em>\u003c/p>\n\u003cp>Jamal: Yeah. It’s just it’s just been growing from there. And then watching the whole war play out under George Bush, it’s just understanding, you know, Hurricane Katrina and all of these different significant things that was happening where ultimately I feel like, a lot of our communities there wasn’t enough attention being shown. And that’s why I’m focused on the underserved communities here in San Francisco.\u003c/p>\n\u003cp>\u003cem>Pen: Knowing you got that mindset, that philosophy and approach to interacting with people, what’s your game plan for the long haul? Do you see yourself involved in politics even further?\u003c/em>\u003c/p>\n\u003cp>Jamal: I mean, I don’t know. Ain’t no telling what the future brings.\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>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past three months, San Francisco’s \u003ca href=\"https://www.instagram.com/jamaltrulove/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a> has been working with \u003ca href=\"https://www.gofundme.com/f/gqgve-hand-sanitizer-for-vulnerable-groups-amid-covid19\" target=\"_blank\" rel=\"noopener noreferrer\">UCSF’s Science Policy Group\u003c/a> in order to get masks, hand sanitizer and information to groups that have been most impacted by COVID-19.\u003c/p>\n\u003cp>You might’ve heard a little bit about Trulove’s story.\u003c/p>\n\u003cp>He’s an actor, who played the role of Kofi in the 2019 film, \u003ca style=\"color: #41a62a\" href=\"https://a24films.com/films/the-last-black-man-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>. He’s a rapper, under the stage name 10MilliMilli, he’s dropped a handful of songs, and is working on more.\u003c/p>\n\u003cp>And last year he was awarded a\u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\"> multi-million dollar settlement\u003c/a> in a case with the SFPD, after being framed and falsely imprisoned for a 2007 murder; a case that led to him serving over six years behind bars. Since then, \u003ca href=\"https://www.huffpost.com/entry/framed-by-police-prison-jamal-trulove_n_5d0bea68e4b07ae90d9a5b3b\" target=\"_blank\" rel=\"noopener noreferrer\">he’s been vocal\u003c/a> about that case and the prison system.\u003c/p>\n\u003cp>This week on Rightnowish, we talk to Trulove about what politicized him as a teen, to what it means to leverage relationships and star-power in order to serve his community– in San Francisco and behind bars– in the midst of a pandemic.\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=KQINC8284293744&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Jamal Trulove.\u003c/strong>\u003c/p>\n\u003cp>Jamal: I think it’s important to play a grass root position in all of this. Coming from project housing in San Francisco to be able to be that person on the front line to help out with our communities, such as mine and beyond. They say every hood is the same, you know, just in a different location.\u003c/p>\n\u003cp>\u003cem>Pen: When you’re out there on the streets or when you’re out even in the prisons, how are people responding to you?\u003c/em>\u003c/p>\n\u003cp>Jamal: Well, they’re not actually letting us in. You know, they’re swinging us around the side and just like dropping off the bottles and getting it to ‘em. Obviously, we would have loved to go inside. But I mean, look, I lived in those prisons, man. And it ain’t no good. It’s a health hazard all the way through, especially in San Quentin, especially in old Folsom. And it’s like, least they could do was accept this hand sanitizer. We appreciate that they even accepted it because there’s some jails and prisons who haven’t accepted it. We’re hoping that they change their mind. But I do get phone calls, you know, from cats, that’s in San Quentin and also in Folsom. Like, “Right on, bruh. Good luck, you really doing it. You know, you’re doing it for us, you understand, like,” I’ve been getting a lot of big, phone calls and thank you’s and stuff like that from people on the inside.\u003c/p>\n\u003cfigure id=\"attachment_13881175\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/vlcsnap-2020-05-27-17h35m22s927-800x450.jpg\" alt=\"Rapper and actor Jamal Trulove leverages his star-power to serve his community in the midst of the COVID-19 pandemic.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/vlcsnap-2020-05-27-17h35m22s927-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/vlcsnap-2020-05-27-17h35m22s927-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/vlcsnap-2020-05-27-17h35m22s927-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/vlcsnap-2020-05-27-17h35m22s927-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/vlcsnap-2020-05-27-17h35m22s927.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and actor Jamal Trulove leverages his star-power to serve his community in the midst of the COVID-19 pandemic. \u003ccite>(Amir Clark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: What you’re doing right now, both in terms of the activism and the art, it’s almost like you’re in the role of a model.\u003c/em>\u003c/p>\n\u003cp>Jamal: Yea, but like, you know, like the great Tupac said, “I don’t want to be a role model, because a role model plays a role. I want to be a real model.”\u003c/p>\n\u003cp>Jamal: I remember being in those projects you know, not really caring about my life. You know, having nihilism in my blood where I don’t care if I die or if I had to shoot somebody, you know. I had no option. And I had no resources. And, you know, the projects and the hood, It’s a scary place, man. A scary place. So I want to be able to use my platform and my image to show the kids in the youth that’s coming up in these communities. Even people my age, you can change. Now, you too can rise above.\u003c/p>\n\u003cp>\u003cem>Pen: At what point in your life did you become interested in politics or even community activism?\u003c/em>\u003c/p>\n\u003cp>Jamal: I’ve been into politics ever since the World Trade Center got hit.\u003c/p>\n\u003cp>\u003cem>Pen: Yeah?\u003c/em>\u003c/p>\n\u003cp>Jamal: I’ve been in politics, watching the news, and just being aware. I was actually in juvenile hall when it happened. And they had us locked down where they were gonna leave, as they said, if something happened in San Francisco, they would just dart out. And that’s when I start paying attention to the news. A whole lot. And then I started learning about who this president was, all of these different things. I’m like, whoa! Like, I thought this person was really cool, but then turned to find out that this person ain’t cool. And then it just ended up being something that I’ve just found a lot of interest in.\u003c/p>\n\u003cp>\u003cem>Pen: Yeah, and then from there, you said it’s just been growing. huh?\u003c/em>\u003c/p>\n\u003cp>Jamal: Yeah. It’s just it’s just been growing from there. And then watching the whole war play out under George Bush, it’s just understanding, you know, Hurricane Katrina and all of these different significant things that was happening where ultimately I feel like, a lot of our communities there wasn’t enough attention being shown. And that’s why I’m focused on the underserved communities here in San Francisco.\u003c/p>\n\u003cp>\u003cem>Pen: Knowing you got that mindset, that philosophy and approach to interacting with people, what’s your game plan for the long haul? Do you see yourself involved in politics even further?\u003c/em>\u003c/p>\n\u003cp>Jamal: I mean, I don’t know. Ain’t no telling what the future brings.\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>\u003c/div>",
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"title": "A Dance Tribute to Bayview-Hunters Point's History",
"headTitle": "A Dance Tribute to Bayview-Hunters Point’s History | KQED",
"content": "\u003cp>The renaissance of the Bayview-Hunters Point neighborhood has been a long time coming. And it may have just gotten longer, with the recent discovery of radioactive material missed in the \u003ca href=\"http://www.sfweekly.com/topstories/toxic-relationship-the-fraud-at-hunters-point/\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a> 20-year, \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/chairman-willie-willie-browns-not-so-secret-connection-to-the-hunters-point-project/Content?oid=2826740\" target=\"_blank\" rel=\"noopener\">$1 billion\u003c/a> EPA Superfund cleanup of the Hunters Point naval shipyard. The \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Radioactive-object-found-near-homes-at-Hunters-13228476.php#photo-16163671\" target=\"_blank\" rel=\"noopener\">unearthing of a radium marker\u003c/a>—a remnant of the shipyard’s use as a decontamination site for nuclear warships and a secret military lab for testing biological and chemical weapons—prompted renewed calls from community activists to delay the area’s \u003ca href=\"https://www.sfchronicle.com/science/article/Housing-blooms-at-last-at-once-toxic-Hunters-6314858.php#photo-8118383\" target=\"_blank\" rel=\"noopener\">massive redevelopment plans\u003c/a>.\u003c/p>\n\u003cp>In this charged environment, choreographer Joanna Haigood unveils \u003ca href=\"http://zaccho.org/?picture_about\" target=\"_blank\" rel=\"noopener\">\u003cem>Picture Bayview Hunters Point\u003c/em>\u003c/a>, a work for \u003ca href=\"http://zaccho.org\" target=\"_blank\" rel=\"noopener\">Zaccho Dance Theatre\u003c/a> that unites aerial dance, video and music. Anchoring the piece are voices of local residents telling family histories of migration and individual dreams for their long-ravaged community.\u003c/p>\n\u003cp>\u003cem>Picture Bayview Hunters Point \u003c/em>takes place in and around the \u003ca href=\"http://bvoh.org\" target=\"_blank\" rel=\"noopener\">Bayview Opera House\u003c/a>, a historic \u003ca href=\"http://bvoh.org/wp-content/uploads/2017/07/HistoryOfRuthWilliamsMemorialTheatre.pdf\" target=\"_blank\" rel=\"noopener\">gathering place\u003c/a> for the community since the late 19th century. In 1966, the theater became ground zero for \u003ca href=\"https://modernluxury.com/san-francisco/story/the-fire-last-time\" target=\"_blank\" rel=\"noopener\">a social uprising\u003c/a> that prompted the largest mobilization of police and National Guard in San Francisco since World War II. Triggered by the police shooting of Matthew Johnson, Jr., a black teenager, the unrest evinced longstanding frustrations in the community that was—and still is—San Francisco’s largest African-American neighborhood. Over several days, the police responded with disproportionate force, at one point spraying machine-gun fire into the opera house while children were sheltered there. This tragic episode is one of several watershed moments in the neighborhood’s history evoked in \u003cem>Picture Bayview Hunters Point\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13842173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Delvis-Fri%C3%B1on-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-800x533.jpg\" alt=\"Delvis Friñon in 'Picture Bayview Hunters Point.' \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13842173\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delvis Friñon in ‘Picture Bayview Hunters Point.’ \u003ccite>(Kegan Marling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite claims that the police had been fired upon first, Haigood reminded me, nobody found guns in the opera house. Hundreds of arrests were made on charges of involvement in what was termed a “civil disturbance.”\u003c/p>\n\u003cp>“When you look at the impact [of the police shooting of teenager Matthew Johnson],” Haigood noted, “it’s very similar to what is happening all over the country, like Ferguson. We are trying to hold [these more recent shootings] with this one historic event… So, when you see and hear this story, it sounds very familiar. It sounds like it happened yesterday.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I had come to Zaccho’s expansive studio in an industrial space in Bayview to watch Haigood take her cast of 13 through rehearsal of a scene in which the dancers maneuver immense blocks of wood with improbable grace and dexterity. They were, almost literally, building a house. The labor of the ensemble was peppered with brief solos performed atop the blocks—some of the solos seemingly fueled by wrath, others by a buoyant optimism.\u003c/p>\n\u003cp>The soundtrack for this section will be “a bit of a mash-up,” Haigood explained. Artist-composer Walter Kitundu is masterminding the score. “Some of the sampling is from the Bayview hip-hop group \u003ca href=\"https://www.passionweiss.com/2018/02/27/rbl-posse-untold-story/\" target=\"_blank\" rel=\"noopener\">RBL Posse\u003c/a>, their famous piece called ‘Don’t Give Me No Bammer Weed.’ The rest of the soundtrack is built on the voices [of community members], built on a lot of different material.”\u003c/p>\n\u003cfigure id=\"attachment_13842171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Fri%C3%B1on-Jos%C3%A9-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-800x1200.jpg\" alt=\"(L–R) Adonis Martin, Delvis Friñon, José Abad, Antoine Hunter and (front) Jarrel Phillips in Joanna Haigood's 'Picture Bayview Hunters Point' for Zaccho Dance Theatre. \" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13842171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Adonis Martin, Delvis Friñon, José Abad, Antoine Hunter and (front) Jarrel Phillips in Joanna Haigood’s ‘Picture Bayview Hunters Point’ for Zaccho Dance Theatre. \u003ccite>(Kegan Marling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Picture Bayview Hunters Point \u003c/em>starts by honoring the native Ohlone people who first inhabited the windswept point. It then takes us through the waves of African American migration from the South as the shipyard boomed in the early 1940s, then through the shipyard’s decline and eventual closure in the 1970s, and finally to the present dilemma over redevelopment.\u003c/p>\n\u003cp>In the piece, Haigood explains, she has attempted to show “the struggles—with unemployment, the influx of drugs, racism, all kinds of things that are impacting the community—and then all of the work that people are doing to try to shift those things, the activism in the community. So those two things are kind of balanced… to show the resilience of the community.”\u003c/p>\n\u003cp>\u003cem>Picture Bayview Hunters Point \u003c/em>is the last in a trilogy that has zig-zagged from Minneapolis in 2000 (\u003ca href=\"http://visualarts.walkerart.org/oracles/details.wac?id=1863&title=Lexicon\" target=\"_blank\" rel=\"noopener\">\u003cem>Picture Powderhorn\u003c/em>\u003c/a>), to Brooklyn in 2002 (\u003ca href=\"https://www.nytimes.com/2002/08/18/arts/dance-way-up-high-soaring-floating-diving-dancing.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Picture Red Hook\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>https://vimeo.com/172886001\u003c/p>\n\u003cp>While all three are portraits of inner-city communities grappling with wrenching change, \u003cem>Picture Bayview Hunters Point \u003c/em>is additionally a salute to the community where Haigood and Zaccho Dance have made their home for 28 years.\u003c/p>\n\u003cp>As the audience accompanies the dancers on their journey through time, Haigood says her aim is “to try to humanize. What often happens in a city that is divided—this is the last black neighborhood in a city that isn’t as integrated as people think, and so the Bayview is ‘over there,’ and what happens over there is portrayed in the media in a particular way. But in fact, it’s much more nuanced.”\u003c/p>\n\u003cp>Local residents have told her they’d like to clear up “this misperception that we are not like other people. Because we are just like you—we bleed, our hearts beat, we have families, we love our children. So, the picture is not abstract: once you hear all these people talking, you have a sense of this deeper humanity. It’s real people doing things that we all do, who need things that we all need.”\u003c/p>\n\u003cfigure id=\"attachment_13842187\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lydia Clinton and Delvis Friñon in ‘Picture Bayview Hunters Point.’ (Photo: Kegan Marling)\u003c/figcaption>\u003c/figure>\n\u003cp>That troubling radium marker dug up just a few weeks ago on the site of a spanking new condo development was one of a multitude of devices painted with radioactive radium-226, once used by the Navy to light up ship decks and other areas around the base at night. Today, artists like Haigood, with collaborators Kitundu and video artist Mary Ellen Strom, are illuminating the neighborhood with dance—and hopefully creating an uproar of an entirely different sort.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Picture Bayview Hunters Point’ runs Oct. 11–21 at the Bayview Opera House. Details and free tickets \u003ca href=\"http://zaccho.org/?picture_about\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The renaissance of the Bayview-Hunters Point neighborhood has been a long time coming. And it may have just gotten longer, with the recent discovery of radioactive material missed in the \u003ca href=\"http://www.sfweekly.com/topstories/toxic-relationship-the-fraud-at-hunters-point/\" target=\"_blank\" rel=\"noopener\">controversial\u003c/a> 20-year, \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/chairman-willie-willie-browns-not-so-secret-connection-to-the-hunters-point-project/Content?oid=2826740\" target=\"_blank\" rel=\"noopener\">$1 billion\u003c/a> EPA Superfund cleanup of the Hunters Point naval shipyard. The \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Radioactive-object-found-near-homes-at-Hunters-13228476.php#photo-16163671\" target=\"_blank\" rel=\"noopener\">unearthing of a radium marker\u003c/a>—a remnant of the shipyard’s use as a decontamination site for nuclear warships and a secret military lab for testing biological and chemical weapons—prompted renewed calls from community activists to delay the area’s \u003ca href=\"https://www.sfchronicle.com/science/article/Housing-blooms-at-last-at-once-toxic-Hunters-6314858.php#photo-8118383\" target=\"_blank\" rel=\"noopener\">massive redevelopment plans\u003c/a>.\u003c/p>\n\u003cp>In this charged environment, choreographer Joanna Haigood unveils \u003ca href=\"http://zaccho.org/?picture_about\" target=\"_blank\" rel=\"noopener\">\u003cem>Picture Bayview Hunters Point\u003c/em>\u003c/a>, a work for \u003ca href=\"http://zaccho.org\" target=\"_blank\" rel=\"noopener\">Zaccho Dance Theatre\u003c/a> that unites aerial dance, video and music. Anchoring the piece are voices of local residents telling family histories of migration and individual dreams for their long-ravaged community.\u003c/p>\n\u003cp>\u003cem>Picture Bayview Hunters Point \u003c/em>takes place in and around the \u003ca href=\"http://bvoh.org\" target=\"_blank\" rel=\"noopener\">Bayview Opera House\u003c/a>, a historic \u003ca href=\"http://bvoh.org/wp-content/uploads/2017/07/HistoryOfRuthWilliamsMemorialTheatre.pdf\" target=\"_blank\" rel=\"noopener\">gathering place\u003c/a> for the community since the late 19th century. In 1966, the theater became ground zero for \u003ca href=\"https://modernluxury.com/san-francisco/story/the-fire-last-time\" target=\"_blank\" rel=\"noopener\">a social uprising\u003c/a> that prompted the largest mobilization of police and National Guard in San Francisco since World War II. Triggered by the police shooting of Matthew Johnson, Jr., a black teenager, the unrest evinced longstanding frustrations in the community that was—and still is—San Francisco’s largest African-American neighborhood. Over several days, the police responded with disproportionate force, at one point spraying machine-gun fire into the opera house while children were sheltered there. This tragic episode is one of several watershed moments in the neighborhood’s history evoked in \u003cem>Picture Bayview Hunters Point\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13842173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Delvis-Fri%C3%B1on-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-800x533.jpg\" alt=\"Delvis Friñon in 'Picture Bayview Hunters Point.' \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13842173\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Delvis-Friñon-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_5037-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delvis Friñon in ‘Picture Bayview Hunters Point.’ \u003ccite>(Kegan Marling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite claims that the police had been fired upon first, Haigood reminded me, nobody found guns in the opera house. Hundreds of arrests were made on charges of involvement in what was termed a “civil disturbance.”\u003c/p>\n\u003cp>“When you look at the impact [of the police shooting of teenager Matthew Johnson],” Haigood noted, “it’s very similar to what is happening all over the country, like Ferguson. We are trying to hold [these more recent shootings] with this one historic event… So, when you see and hear this story, it sounds very familiar. It sounds like it happened yesterday.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I had come to Zaccho’s expansive studio in an industrial space in Bayview to watch Haigood take her cast of 13 through rehearsal of a scene in which the dancers maneuver immense blocks of wood with improbable grace and dexterity. They were, almost literally, building a house. The labor of the ensemble was peppered with brief solos performed atop the blocks—some of the solos seemingly fueled by wrath, others by a buoyant optimism.\u003c/p>\n\u003cp>The soundtrack for this section will be “a bit of a mash-up,” Haigood explained. Artist-composer Walter Kitundu is masterminding the score. “Some of the sampling is from the Bayview hip-hop group \u003ca href=\"https://www.passionweiss.com/2018/02/27/rbl-posse-untold-story/\" target=\"_blank\" rel=\"noopener\">RBL Posse\u003c/a>, their famous piece called ‘Don’t Give Me No Bammer Weed.’ The rest of the soundtrack is built on the voices [of community members], built on a lot of different material.”\u003c/p>\n\u003cfigure id=\"attachment_13842171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Fri%C3%B1on-Jos%C3%A9-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-800x1200.jpg\" alt=\"(L–R) Adonis Martin, Delvis Friñon, José Abad, Antoine Hunter and (front) Jarrel Phillips in Joanna Haigood's 'Picture Bayview Hunters Point' for Zaccho Dance Theatre. \" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13842171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/l-to-r-Adonis-Martin-Delvis-Friñon-José-Abad-Antoine-Hunter-front-Jarrel-Phillips-in-Picture-Bayview-Hunters-Point-by-Zaccho-Dance-Theatre-KeganMarling_180917_4864-2.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Adonis Martin, Delvis Friñon, José Abad, Antoine Hunter and (front) Jarrel Phillips in Joanna Haigood’s ‘Picture Bayview Hunters Point’ for Zaccho Dance Theatre. \u003ccite>(Kegan Marling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Picture Bayview Hunters Point \u003c/em>starts by honoring the native Ohlone people who first inhabited the windswept point. It then takes us through the waves of African American migration from the South as the shipyard boomed in the early 1940s, then through the shipyard’s decline and eventual closure in the 1970s, and finally to the present dilemma over redevelopment.\u003c/p>\n\u003cp>In the piece, Haigood explains, she has attempted to show “the struggles—with unemployment, the influx of drugs, racism, all kinds of things that are impacting the community—and then all of the work that people are doing to try to shift those things, the activism in the community. So those two things are kind of balanced… to show the resilience of the community.”\u003c/p>\n\u003cp>\u003cem>Picture Bayview Hunters Point \u003c/em>is the last in a trilogy that has zig-zagged from Minneapolis in 2000 (\u003ca href=\"http://visualarts.walkerart.org/oracles/details.wac?id=1863&title=Lexicon\" target=\"_blank\" rel=\"noopener\">\u003cem>Picture Powderhorn\u003c/em>\u003c/a>), to Brooklyn in 2002 (\u003ca href=\"https://www.nytimes.com/2002/08/18/arts/dance-way-up-high-soaring-floating-diving-dancing.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Picture Red Hook\u003c/em>\u003c/a>.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While all three are portraits of inner-city communities grappling with wrenching change, \u003cem>Picture Bayview Hunters Point \u003c/em>is additionally a salute to the community where Haigood and Zaccho Dance have made their home for 28 years.\u003c/p>\n\u003cp>As the audience accompanies the dancers on their journey through time, Haigood says her aim is “to try to humanize. What often happens in a city that is divided—this is the last black neighborhood in a city that isn’t as integrated as people think, and so the Bayview is ‘over there,’ and what happens over there is portrayed in the media in a particular way. But in fact, it’s much more nuanced.”\u003c/p>\n\u003cp>Local residents have told her they’d like to clear up “this misperception that we are not like other people. Because we are just like you—we bleed, our hearts beat, we have families, we love our children. So, the picture is not abstract: once you hear all these people talking, you have a sense of this deeper humanity. It’s real people doing things that we all do, who need things that we all need.”\u003c/p>\n\u003cfigure id=\"attachment_13842187\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KeganMarling_180917_4674.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lydia Clinton and Delvis Friñon in ‘Picture Bayview Hunters Point.’ (Photo: Kegan Marling)\u003c/figcaption>\u003c/figure>\n\u003cp>That troubling radium marker dug up just a few weeks ago on the site of a spanking new condo development was one of a multitude of devices painted with radioactive radium-226, once used by the Navy to light up ship decks and other areas around the base at night. Today, artists like Haigood, with collaborators Kitundu and video artist Mary Ellen Strom, are illuminating the neighborhood with dance—and hopefully creating an uproar of an entirely different sort.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Picture Bayview Hunters Point’ runs Oct. 11–21 at the Bayview Opera House. Details and free tickets \u003ca href=\"http://zaccho.org/?picture_about\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "honoring-lost-leaders-at-all-my-usos-a-polynesian-community-bbq-in-bayview",
"title": "Honoring Lost Leaders at 'All My Usos,' a Polynesian Community BBQ in Bayview",
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"headTitle": "Honoring Lost Leaders at ‘All My Usos,’ a Polynesian Community BBQ in Bayview | KQED",
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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\">W\u003c/span>hen I walked into Gilman Park in San Francisco’s Bayview neighborhood, it was just like that classic scene from the movie \u003cem>Poetic Justice\u003c/em>. You know, the one where Tupac Shakur’s character, Lucky, enters a park full of people he doesn’t know and is accepted with open arms into the Johnson family reunion after introducing himself as “Cousin Pete.”\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>The only difference was that the folks at the 4th annual All My Usos BBQ, a celebration organized by the Polynesian community in San Francisco, opened their arms to me before I had the chance to introduce myself.\u003c/p>\n\u003cp>It probably helped that I was with Jean Melesaine, a well-known photographer, sister of the community and product of the same soil on which we walked. Melesaine hugged people that she called auntie and kissed community cousins on the cheek, introducing me thereafter. I followed along as she moved through the crowd: tall with a warm smile, Canon camera securely strapped over her shoulder, her long black hair braided in two cornrows that draped down the back of her “Polynesian Panthers” T-shirt.\u003c/p>\n\u003cp>Melesaine has attended this annual barbecue for years, but this one was different. Key folks were missing.\u003c/p>\n\u003cfigure id=\"attachment_13839974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\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\">S\u003c/span>ome of the people Melesaine expected to see were at the hospital, she told me, alongside Joseph Taeotui, who had been shot multiple times that week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taeotui, I learned, is also commonly referred to as “Jungle Joe,” a community organizer who lived in the trenches and connected with the young people of the community. He helped to organize community events, including this one. He also worked on anti-violence campaigns; the day he got shot, he was reportedly coming from a community meeting on how to stop gun violence.\u003c/p>\n\u003cp>Adding to the heavy hearts around Jungle Joe’s life hanging in balance was the recent death of JT Mauia, one of the founders of this annual gathering, who died of cancer earlier this summer.\u003c/p>\n\u003cfigure id=\"attachment_13839977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839977\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.cigar_-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nonetheless, the sun somehow pierced through the heavy fog of southeastern San Francisco before noon, and gently glistened off the parked motorcycles of the Pacific Savagez bike club. Kids got free haircuts and face-paint jobs. Some folks shot hoops, others played catch with a football. It was the first time I attended a barbecue where a rugby ball was tossed around.\u003c/p>\n\u003cp>Before the food was served, someone turned down the sound of classic R&B as attendees gathered in prayer. The emcee opened with a bit of history.\u003c/p>\n\u003cp>“I’m going to take it way back to the ’70s, when we had Flag Day. We came to rally in a circle,” he said. “Now we’ve created this because it’s a blessing to see everyone together.”\u003c/p>\n\u003cp>He then spoke a few words in Samoan, before continuing in English. “‘All My Usuos’ stands for all my brothers. ‘All’ defines all different cultures. It has no race on it. All you guys are my brothers. No matter what walk of life you come from, you are all my brothers. It’s not just about being Polynesian, but it is important to remember who you are and where you come from.”\u003c/p>\n\u003cfigure id=\"attachment_13839975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.game_-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a few more words in Samoan, he passed the microphone to a gentleman named Pastor Lucky, who said a prayer for JT and Jungle Joe, quoted Mathews 5:16, and then blessed the food for everyone in the park—including the people who brought a Raiders tent.\u003c/p>\n\u003cp>As I stood in line to get food, someone asked, “Who made the potato salad?”—and my heart warmed. If my eyes had been closed, I would’ve thought I was at my own family reunion.\u003c/p>\n\u003cp>It had dawned on me: Melesaine and I aren’t too different.\u003c/p>\n\u003cp>With her ever-present camera, she’s a documentarian of a community that is in flux. A significant number of Samoans in San Francisco live in the same projects that house a large percentage of its African Americans, and they’re going through the same battles of gentrifying forces from the outside and community violence from within.\u003c/p>\n\u003cfigure id=\"attachment_13839976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.selfies-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with Melesaine, I learned that a lot of Samoans are Mormon, far from their indigenous religion; similar to how a large percentage of people with African lineage are disconnected from our indigenous religions. In fact, Melesaine’s father originally came to the states to plant the palm tress that line the Mormon Temple on the hillside of East Oakland.\u003c/p>\n\u003cp>She also told me that a lot of Samoans from American Samoa (not to be confused with the Independent State of Samoa) came to the mainland United States in order to get involved in the armed forces; that’s how a large number of people ended up in Bayview and Hunters Point, which is adjacent to the now-defunct Navy Shipyard.\u003c/p>\n\u003cp>Even her “Polynesian Panther” shirt was a sign that our ancestral roots come from land that sits on two different oceans. But like myself, Melesaine is a student of the streets as well as the classroom. While our childhoods were spent on two different sides of the Bay Area, our struggles aren’t too far removed.\u003c/p>\n\u003cfigure id=\"attachment_13839972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839972\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.Prince-800x534.jpg\" alt=\"Prince White.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince White. \u003ccite>(Pendarvis Harshaw)\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\">D\u003c/span>ays later, the unfortunate news came the Jungle Joe had passed. The very next day I got word that Prince White, an organizer and activist in my community in Oakland, who’d been in the hospital battling a very rare autoimmune disease, had succumbed to his illness.\u003c/p>\n\u003cp>In addition to being a father and a husband, White worked with the Urban Peace Movement and led the \u003ca href=\"https://unitedrootsoakland.org/determination-black-mens-group-boys-men-of-color-media-engagement/\" target=\"_blank\" rel=\"noopener noreferrer\">DetermiNation Black Men’s Group\u003c/a>, “tailored to support young men who are struggling to advance in their own life goals and who have been formerly involved in or are currently in close proximity to the ‘street life.'” White also worked on the 1,400 Jobs for Freedom Campaign in Alameda County to employ the formerly incarcerated, and avidly fought for the release of a young man named Dajon Ford, who was arrested at age 17 but tried as an adult.\u003c/p>\n\u003cp>I knew White for only a few years, and I never met Jungle Joe. But I see parallels in their stories; just as I see commonalities between Melesaine and myself.\u003c/p>\n\u003cp>When I got word that White had passed, I went into my photo archives. I knew exactly where my photos of him were. I shared them on social media with words expressing condolences to his friends and family.\u003c/p>\n\u003cp>When Melesaine got word that Jungle Joe had passed, she did the same thing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "How I discovered that the Bay Area's Samoan community and African American community have more in common than I'd thought.",
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"title": "Honoring Lost Leaders at 'All My Usos,' a Polynesian Community BBQ in Bayview | KQED",
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"headline": "Honoring Lost Leaders at 'All My Usos,' a Polynesian Community BBQ in Bayview",
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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\">W\u003c/span>hen I walked into Gilman Park in San Francisco’s Bayview neighborhood, it was just like that classic scene from the movie \u003cem>Poetic Justice\u003c/em>. You know, the one where Tupac Shakur’s character, Lucky, enters a park full of people he doesn’t know and is accepted with open arms into the Johnson family reunion after introducing himself as “Cousin Pete.”\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>The only difference was that the folks at the 4th annual All My Usos BBQ, a celebration organized by the Polynesian community in San Francisco, opened their arms to me before I had the chance to introduce myself.\u003c/p>\n\u003cp>It probably helped that I was with Jean Melesaine, a well-known photographer, sister of the community and product of the same soil on which we walked. Melesaine hugged people that she called auntie and kissed community cousins on the cheek, introducing me thereafter. I followed along as she moved through the crowd: tall with a warm smile, Canon camera securely strapped over her shoulder, her long black hair braided in two cornrows that draped down the back of her “Polynesian Panthers” T-shirt.\u003c/p>\n\u003cp>Melesaine has attended this annual barbecue for years, but this one was different. Key folks were missing.\u003c/p>\n\u003cfigure id=\"attachment_13839974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\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\">S\u003c/span>ome of the people Melesaine expected to see were at the hospital, she told me, alongside Joseph Taeotui, who had been shot multiple times that week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taeotui, I learned, is also commonly referred to as “Jungle Joe,” a community organizer who lived in the trenches and connected with the young people of the community. He helped to organize community events, including this one. He also worked on anti-violence campaigns; the day he got shot, he was reportedly coming from a community meeting on how to stop gun violence.\u003c/p>\n\u003cp>Adding to the heavy hearts around Jungle Joe’s life hanging in balance was the recent death of JT Mauia, one of the founders of this annual gathering, who died of cancer earlier this summer.\u003c/p>\n\u003cfigure id=\"attachment_13839977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839977\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.cigar_-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nonetheless, the sun somehow pierced through the heavy fog of southeastern San Francisco before noon, and gently glistened off the parked motorcycles of the Pacific Savagez bike club. Kids got free haircuts and face-paint jobs. Some folks shot hoops, others played catch with a football. It was the first time I attended a barbecue where a rugby ball was tossed around.\u003c/p>\n\u003cp>Before the food was served, someone turned down the sound of classic R&B as attendees gathered in prayer. The emcee opened with a bit of history.\u003c/p>\n\u003cp>“I’m going to take it way back to the ’70s, when we had Flag Day. We came to rally in a circle,” he said. “Now we’ve created this because it’s a blessing to see everyone together.”\u003c/p>\n\u003cp>He then spoke a few words in Samoan, before continuing in English. “‘All My Usuos’ stands for all my brothers. ‘All’ defines all different cultures. It has no race on it. All you guys are my brothers. No matter what walk of life you come from, you are all my brothers. It’s not just about being Polynesian, but it is important to remember who you are and where you come from.”\u003c/p>\n\u003cfigure id=\"attachment_13839975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.game_-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a few more words in Samoan, he passed the microphone to a gentleman named Pastor Lucky, who said a prayer for JT and Jungle Joe, quoted Mathews 5:16, and then blessed the food for everyone in the park—including the people who brought a Raiders tent.\u003c/p>\n\u003cp>As I stood in line to get food, someone asked, “Who made the potato salad?”—and my heart warmed. If my eyes had been closed, I would’ve thought I was at my own family reunion.\u003c/p>\n\u003cp>It had dawned on me: Melesaine and I aren’t too different.\u003c/p>\n\u003cp>With her ever-present camera, she’s a documentarian of a community that is in flux. A significant number of Samoans in San Francisco live in the same projects that house a large percentage of its African Americans, and they’re going through the same battles of gentrifying forces from the outside and community violence from within.\u003c/p>\n\u003cfigure id=\"attachment_13839976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.selfies-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with Melesaine, I learned that a lot of Samoans are Mormon, far from their indigenous religion; similar to how a large percentage of people with African lineage are disconnected from our indigenous religions. In fact, Melesaine’s father originally came to the states to plant the palm tress that line the Mormon Temple on the hillside of East Oakland.\u003c/p>\n\u003cp>She also told me that a lot of Samoans from American Samoa (not to be confused with the Independent State of Samoa) came to the mainland United States in order to get involved in the armed forces; that’s how a large number of people ended up in Bayview and Hunters Point, which is adjacent to the now-defunct Navy Shipyard.\u003c/p>\n\u003cp>Even her “Polynesian Panther” shirt was a sign that our ancestral roots come from land that sits on two different oceans. But like myself, Melesaine is a student of the streets as well as the classroom. While our childhoods were spent on two different sides of the Bay Area, our struggles aren’t too far removed.\u003c/p>\n\u003cfigure id=\"attachment_13839972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839972\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.Prince-800x534.jpg\" alt=\"Prince White.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince White. \u003ccite>(Pendarvis Harshaw)\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\">D\u003c/span>ays later, the unfortunate news came the Jungle Joe had passed. The very next day I got word that Prince White, an organizer and activist in my community in Oakland, who’d been in the hospital battling a very rare autoimmune disease, had succumbed to his illness.\u003c/p>\n\u003cp>In addition to being a father and a husband, White worked with the Urban Peace Movement and led the \u003ca href=\"https://unitedrootsoakland.org/determination-black-mens-group-boys-men-of-color-media-engagement/\" target=\"_blank\" rel=\"noopener noreferrer\">DetermiNation Black Men’s Group\u003c/a>, “tailored to support young men who are struggling to advance in their own life goals and who have been formerly involved in or are currently in close proximity to the ‘street life.'” White also worked on the 1,400 Jobs for Freedom Campaign in Alameda County to employ the formerly incarcerated, and avidly fought for the release of a young man named Dajon Ford, who was arrested at age 17 but tried as an adult.\u003c/p>\n\u003cp>I knew White for only a few years, and I never met Jungle Joe. But I see parallels in their stories; just as I see commonalities between Melesaine and myself.\u003c/p>\n\u003cp>When I got word that White had passed, I went into my photo archives. I knew exactly where my photos of him were. I shared them on social media with words expressing condolences to his friends and family.\u003c/p>\n\u003cp>When Melesaine got word that Jungle Joe had passed, she did the same thing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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