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"content": "\u003cp>Before Boots Riley was the award-winning director of \u003cem>Sorry to Bother You\u003c/em>, he was better known as an Oakland rapper and community organizer who led direct actions during the Occupy movement and spoke out against corporate greed and police brutality with his group, the Coup. Today, Riley took to the streets once again to lend his platform and support to the Oakland Unified School District \u003ca href=\"https://www.kqed.org/news/11727551/oakland-teachers-go-on-strike-in-fight-for-higher-pay-more-resources\" rel=\"noopener\" target=\"_blank\">teacher strike\u003c/a>, now in its fourth day as teachers lobby for a 12-percent wage increase over the span of three years. [aside postID=\"arts_13847704\"]\u003c/p>\n\u003cp>This afternoon, at a rally in front of Roots International Academy in East Oakland, Riley joined students, teachers and community activists to champion direct action and criticize privatization of public education—a contentious topic in the Bay Area as public schools lose funding to charters. Riley cheered on protesters, reminding them that they’re setting an example for students and teachers across the country and world. Read his full speech below. \u003c/p>\n\u003cfigure id=\"attachment_13851708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/boots-strike-800x460.jpg\" alt=\"Boots Riley at the Oakland teachers' strike on Feb. 26, 2019.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-13851708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-1200x691.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike.jpg 1597w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley at the Oakland teachers’ strike on Feb. 26, 2019. \u003ccite>(East Bay Majority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>What’s up, thank y’all for fighting. My name is Boots Riley. I’m not gonna rap after that. But I will say in one of the Coup songs called “Strange Arithmetic,” there is a very simple but true lyric that says “If your school don’t teach you how to fight for what’s needed / They’re teaching you to go through life and get cheated.” And that’s what y’all are doing, teaching the students how to fight. You’re not just teaching them the facts of what happened: you’re teaching them to make something happen. And that’s very important because otherwise, all these little templates they get, they won’t know—when they get out in the real world—what to do with it, how to do anything but wish that things were different. \u003c/em>\u003c/p>\n\u003cp>\u003cem>And this is not wishing that things were different, because what y’all are doing is the real way that all the changes that we’ve seen throughout history have actually happened. They don’t come from hoping the right leader gets out there and gets into office, or the right superintendent. They come from the leaders and the elected officials and the superintendents being scared of y’all, being scared of y’all being able to just shut down the machine, shut it all down, and not to give in ’til you get what you want, right? \u003c/em> [aside postID=\"news_11727551\"]\u003c/p>\n\u003cp>\u003cem>And this right—it might seem that it’s right here, all these people right here, but there are people looking at it all over the world, trying to figure out what they should do in their life. They’re looking to Oakland teachers, they’re looking to L.A. teachers and they’re looking to y’all as an example—and you’re giving a great one. And obviously, this wouldn’t be a fight if they just gave in right away. That would be too easy. So y’all are in the thick of it, and I’m glad you’re staying in it because what happens here is going to have a lot to do with what people do all around the country and all around the world, and I thank you. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>I thank you for what you’re doing, because without y’all, they will privatize everything. They’ll privatize every single thing and you’ll have to have a credit card for each lesson you get. And what’s stopping that is not just that the people in charge have good hearts. A lot of them may have good hearts. But it doesn’t have to do with what’s in people’s hearts. It’s not a personality thing. It’s a function, it’s how this system works. And this system is about profit, as you probably all know. They will, little by little, take away all the funding that’s happening there. And no matter how great of a person gets there in office, they’re not going to be able to do all the things to fight for people that they say they’re gonna do if there’s not a real fight going on. So y’all shutting it down is how it happens, and so thank you.\u003c/em>\u003c/p>\n\u003cp>Scroll to 19:22 to hear the speech below. \u003c/p>\n\u003cp>https://twitter.com/OaklandEA/status/1100503319355801603\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This afternoon, at a rally in front of Roots International Academy in East Oakland, Riley joined students, teachers and community activists to champion direct action and criticize privatization of public education—a contentious topic in the Bay Area as public schools lose funding to charters. Riley cheered on protesters, reminding them that they’re setting an example for students and teachers across the country and world. Read his full speech below. \u003c/p>\n\u003cfigure id=\"attachment_13851708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/boots-strike-800x460.jpg\" alt=\"Boots Riley at the Oakland teachers' strike on Feb. 26, 2019.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-13851708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-1200x691.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike.jpg 1597w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley at the Oakland teachers’ strike on Feb. 26, 2019. \u003ccite>(East Bay Majority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>What’s up, thank y’all for fighting. My name is Boots Riley. I’m not gonna rap after that. But I will say in one of the Coup songs called “Strange Arithmetic,” there is a very simple but true lyric that says “If your school don’t teach you how to fight for what’s needed / They’re teaching you to go through life and get cheated.” And that’s what y’all are doing, teaching the students how to fight. You’re not just teaching them the facts of what happened: you’re teaching them to make something happen. And that’s very important because otherwise, all these little templates they get, they won’t know—when they get out in the real world—what to do with it, how to do anything but wish that things were different. \u003c/em>\u003c/p>\n\u003cp>\u003cem>And this is not wishing that things were different, because what y’all are doing is the real way that all the changes that we’ve seen throughout history have actually happened. They don’t come from hoping the right leader gets out there and gets into office, or the right superintendent. They come from the leaders and the elected officials and the superintendents being scared of y’all, being scared of y’all being able to just shut down the machine, shut it all down, and not to give in ’til you get what you want, right? \u003c/em> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>And this right—it might seem that it’s right here, all these people right here, but there are people looking at it all over the world, trying to figure out what they should do in their life. They’re looking to Oakland teachers, they’re looking to L.A. teachers and they’re looking to y’all as an example—and you’re giving a great one. And obviously, this wouldn’t be a fight if they just gave in right away. That would be too easy. So y’all are in the thick of it, and I’m glad you’re staying in it because what happens here is going to have a lot to do with what people do all around the country and all around the world, and I thank you. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>I thank you for what you’re doing, because without y’all, they will privatize everything. They’ll privatize every single thing and you’ll have to have a credit card for each lesson you get. And what’s stopping that is not just that the people in charge have good hearts. A lot of them may have good hearts. But it doesn’t have to do with what’s in people’s hearts. It’s not a personality thing. It’s a function, it’s how this system works. And this system is about profit, as you probably all know. They will, little by little, take away all the funding that’s happening there. And no matter how great of a person gets there in office, they’re not going to be able to do all the things to fight for people that they say they’re gonna do if there’s not a real fight going on. So y’all shutting it down is how it happens, and so thank you.\u003c/em>\u003c/p>\n\u003cp>Scroll to 19:22 to hear the speech below. \u003c/p>\u003c/p>\u003c/div>",
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"slug": "after-oscar-grant-oakland-artists-inspired-a-new-generation-of-activists",
"title": "After Oscar Grant, Oakland Artists Inspired a New Generation of Activists",
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"headTitle": "After Oscar Grant, Oakland Artists Inspired a New Generation of Activists | KQED",
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"content": "\u003cp>Hours after Bay Area Rapid Transit police officer Johannes Mehserle shot and killed Oscar Grant on the platform of Fruitvale Station on Jan. 1, 2009, Bay Area street artists sprang into action. An Alameda printmaker named \u003ca href=\"http://www.gridlock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon-Paul Bail\u003c/a> churned out hundreds of “\u003ca href=\"https://nickcernak.com/wp-content/uploads/2017/05/20090205-political-gridlock-bart-283x400.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Disarm BART Police\u003c/a>” posters to hand out at demonstrations. An artist going by \u003ca href=\"https://endlesscanvas.com/?tag=justice-for-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Broke\u003c/a> printed “Justice for Oscar Grant” posters with stylized graffiti font. Designer \u003ca href=\"https://nickcernak.com/wp-content/uploads/2017/06/200903023-frank-zio-bloody-bart-258x400.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Frank Zio\u003c/a> depicted a BART ticket with a bloody fingerprint.\u003c/p>\n\u003cp>Meanwhile, a cellphone video of the killing went viral on YouTube and social media, galvanizing hundreds of demonstrators who faced off against police in riot gear in downtown Oakland. As they marched, they hoisted signs with Bail, Zio and Broke’s artwork, plus posters by Oakland artists such as \u003ca href=\"http://endlesscanvas.com/?tag=gats\" target=\"_blank\" rel=\"noopener noreferrer\">GATS\u003c/a> and Melanie Cervantes and Jesus Barraza of \u003ca href=\"https://dignidadrebelde.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>.\u003c/p>\n\u003cp>“Everyone was using everyone else’s images freely,” says Bail, who’s made political posters since the ’80s under the name \u003ca href=\"http://www.gridlock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Political Gridlock\u003c/a>. “There was no, ‘This is my image, this is your image.’ No one cared, we just made the art and donated it. Give them posters, go to the rallies.”\u003c/p>\n\u003cp>As helicopters loomed overhead, the images made their way from people’s hands onto city walls and shop windows—a constant reminder of Oakland’s civil unrest—amplifying demonstrators’ calls for accountability as news cameras captured their clashes with police.\u003c/p>\n\u003cp>Those confrontational tactics worked: with public pressure mounting, the Alameda County district attorney charged Mehserle with murder on Jan. 14, 2009, a statistical anomaly for an officer-involved shooting. With Mehserle in custody, a millennial uprising against police brutality began to form in Oakland a full five years before Black Lives Matter became a national rallying cry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Following in the footsteps of Tupac Shakur and the Black Panthers’ Emory Douglas, Oakland artists such as rapper Mistah F.A.B., rapper-turned-filmmaker Boots Riley, and \u003cem>Fruitvale Station\u003c/em> director Ryan Coogler lent their skills to the movement, and they brought followings of newly politicized young people with them. Ten years after Oscar Grant’s death, some of these artists have made a major impact on American pop culture, while others are still doing on-the-ground work in Oakland. All of them catalyzed a new generation of activists who rallied the nation against racial injustice and shifted American consciousness over the past decade.\u003c/p>\n\u003cfigure id=\"attachment_13847780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847780\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_0781-800x533.jpg\" alt=\"A Justice for Oscar Grant poster by street artist Broke. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Justice for Oscar Grant poster by street artist Broke. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I would say for those of us who created Black Lives Matter, it really does start with Oscar Grant as our Rodney King moment—where the violence our communities experience every day was actually captured on video and circulated around the world,” says Black Lives Matter co-founder Alicia Garza.\u003c/p>\n\u003cp>“I think what Mistah F.A.B. and other artists were able to do is speak to folks who are not part of coalitions, who are not part of organizations … and allow them to be a part of the change that needs to happen,” Garza says. “Talking about the role that police violence plays in communities every day is a big part of how people are being reached and being told, ‘You’re not alone,’ one, and, two, ‘You can do something about it.'”\u003c/p>\n\u003ch2>Artists become community organizers\u003c/h2>\n\u003cp>As street artists handed out posters in the weeks after Grant’s death, the Bay Area’s rap scene mobilized to create a soundtrack for the protests. Mistah F.A.B., a central figure of the 2000s hyphy movement, recorded and released “\u003ca href=\"https://mistahfab.bandcamp.com/album/oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">My Life (Oscar Grant)\u003c/a>” the day of the shooting. On the track, he drew attention to an ongoing pattern of police brutality against the black community, which he says mainstream society mostly ignored until it was captured on camera. “See, I’m from a city, man / Where police brutality ain’t nothin’ new to us, man / It’s another Oscar Grant that happens every day,” he rapped.\u003c/p>\n\u003cp>Oscar Grant hadn’t yet become a national news story on Jan. 1, 2009, but Mistah F.A.B. knew he had fans he could reach all over the country through MySpace, Bandcamp and YouTube. That month, he wore an Oscar Grant T-shirt for a TV appearance on BET. “I think expressing what was going on in the city through art was very important because there were individuals who hadn’t heard about the atrocities outside of our area,” he tells me in a recent interview.\u003c/p>\n\u003cfigure id=\"attachment_12997915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-800x450.jpg\" alt=\"Mistah F.A.B.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For artists, rappers, singers, directors—it definitely lit a fire under the people and let them know, we have to address these things,” Mistah F.A.B. says. \u003c/span>\u003c/p>\n\u003cp>Other Bay Area rappers, including \u003ca href=\"https://www.youtube.com/watch?v=8fWeMeqinIE\" target=\"_blank\" rel=\"noopener noreferrer\">J Stalin and Beeda Weeda\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=xQFajNZMxM8\" target=\"_blank\" rel=\"noopener noreferrer\">Zumbi of Zion I\u003c/a> and \u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">Young Gully\u003c/a>, recorded their own protest songs and homages to Grant. And music wasn’t the only way they took action: F.A.B. and \u003cem>Sorry to Bother You\u003c/em> director Boots Riley, then known as a rapper in The Coup, were on the front lines at Oakland City Hall in the days after the shooting to organize outraged Oaklanders.\u003c/p>\n\u003cp>Protests continued throughout 2009 and 2010 as Mehserle’s trial unfolded. In July 2010, a jury convicted the former police officer of involuntary manslaughter. He served 11 months of his two-year sentence, prompting more protests upon his early release in June 2011.\u003c/p>\n\u003cp>That same year, a new movement percolated in New York City: Occupy Wall Street, a protest against corporate interests and wealth inequality. As Occupy protests took root across the country, the center of the action in Oakland was Frank Ogawa Plaza at City Hall, which activists dubbed Oscar Grant Plaza. Following the unofficial name change, calling out racism in the criminal justice system became a core tenet of Occupy Oakland even as the national movement emphasized economics.\u003c/p>\n\u003cp>Many key people from the Oscar Grant protests showed up. Boots Riley \u003ca href=\"http://www.look2remember.com/2011/12/11/boots-riley-at-occupy-oakland-general-strike/\" target=\"_blank\" rel=\"noopener noreferrer\">led direct actions\u003c/a> as police encroached on the Occupy encampment; Mistah F.A.B. delivered speeches on the City Hall steps alongside Nation of Islam leaders and members of Oscar Grant’s family.\u003c/p>\n\u003cp>https://youtu.be/Xym-xl8zLNw\u003c/p>\n\u003cp>Jon-Paul Bail and fellow street artist \u003ca href=\"https://www.instagram.com/rebelstilskin/\" target=\"_blank\" rel=\"noopener noreferrer\">Kalleb Arefaine\u003c/a> arrived to screenprint thousands of posters on site, handing them directly to demonstrators. Graffiti artists, including \u003ca href=\"http://endlesscanvas.com/?p=5004\" target=\"_blank\" rel=\"noopener noreferrer\">Eesuu\u003c/a> and \u003ca href=\"http://endlesscanvas.com/?p=4940\" target=\"_blank\" rel=\"noopener noreferrer\">Optimist\u003c/a>, joined the cause, covering the city with “Justice for Oscar Grant” posters and tags. Oscar Grant murals and wheatpasted posters showed up all over town as protesters camped out in front of City Hall.\u003c/p>\n\u003cp>“When the news and everyone was complaining about the graffiti,” recalls Arefaine, “it broadcasted the message even more.”\u003c/p>\n\u003ch2>Grant’s family enlists artists’ help\u003c/h2>\n\u003cp>During the height of Occupy Oakland, Oscar Grant’s uncle Cephus Johnson, known to many as Uncle Bobby, saw Bail screenprinting at a protest and approached him to collaborate on a new design for a vigil he’d planned for the third anniversary of Grant’s death on Jan. 1, 2012. This time, Bail enlisted another artist, \u003ca href=\"http://cargocollective.com/2amisthetime/filter/2amart/About\" target=\"_blank\" rel=\"noopener noreferrer\">Aambr Newsome a.k.a. 2AM\u003c/a>, who was a Berkeley City College student at the time. Newsome and Bail drew a stylized portrait of a smiling Oscar Grant, illuminated by sunshine with protest signs in the background.\u003c/p>\n\u003cp>Newsome recalls how Oscar Grant’s murder awakened her to the reality of police violence against black communities in America. She felt a sense of duty to lend her illustration skills to the cause. “For me, it was really important providing assistance to those families who feel like they don’t have a voice, that nobody is listening, and to really give them something to march with,” she says. “I think that makes them louder. It makes them a bit more proud so they feel like they have supporters backing them.”\u003c/p>\n\u003cfigure id=\"attachment_13847781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847781\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_0786-800x533.jpg\" alt=\"Kalleb Arefaine and Jon-Paul Bail printed thousands of anti-police brutality posters over the past decade. Bail (right) holds a poster he created with Aambr Newsom in 2012.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kalleb Arefaine and Jon-Paul Bail printed thousands of anti-police brutality posters over the past decade. Bail (right) holds a poster he created with Aambr Newsom in 2012. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson, who assumed the role of family spokesperson after founding the \u003ca href=\"http://www.lovenotbloodcampaign.com\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant Foundation\u003c/a> in 2010, collaborated with numerous artists in the wake of Grant’s death. Johnson’s voice appears on rapper Young Gully’s album \u003cem>\u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">The Grant Station Project\u003c/a> \u003c/em>on the heartfelt final track, “Letter to Grant,” where Gully raps from the perspective of Grant in heaven. (KQED’s Pendarvis Harshaw was an executive producer on the album.)\u003c/p>\n\u003cp>Young Gully recalls how Johnson was skeptical of his intentions until he heard “Letter to Grant” being recorded in the studio. “When Uncle Bobby heard that, he cried. That one song is what allowed me to put that album out,” Gully says. “After that, he saw what my angle was. We built this big relationship, and basically he loved me for that.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3032191159/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For Johnson, working with artists was crucial for drawing attention to injustice, and especially getting young people on board with the fight against police brutality. “Artistry from muralists, hip-hop artists—and artists period, whether they be spoken-word artists, portraitists—they all shared their gifts when it came time to talk about Oscar Grant and speak about the social ills of the system concerning police violence, state-sponsored violence,” he says. “It was young people speaking to young people, and us elders heard their call and responded.”\u003c/p>\n\u003ch2>The movement hits the big screen\u003c/h2>\n\u003cp>The “Justice for Oscar Grant” poster Newsome and Bail created with Johnson’s blessing ended up in \u003cem>Black Panther\u003c/em> director Ryan Coogler’s debut feature film, \u003cem>Fruitvale Station\u003c/em>, about the final 24 hours of Oscar Grant’s life.\u003c/p>\n\u003cp>Coogler, an Oakland native who was only a year older than Grant at the time of the killing, painted a portrait of Grant as an imperfect but loving young father attempting to get his life on track after a stint behind bars. The humanizing portrayal was crucial to the developing national conversation about racial injustice, which only grew more tense after the high-profile shooting of Trayvon Martin in 2012.\u003c/p>\n\u003cp>By the time \u003cem>Fruitvale Station\u003c/em> hit theaters in 2013, Oscar Grant had become a martyr, a symbol and a hashtag after four years of protests in his name. But \u003cem>Fruitvale Station\u003c/em> brought the focus back on Grant as a regular, working-class young man finding his way. At a time when news media regularly vilified victims of police brutality—for example, \u003ca href=\"https://www.theatlantic.com/politics/archive/2012/03/what-did-trayvon-look-depends-your-politics/329893/\" target=\"_blank\" rel=\"noopener noreferrer\">the fixation\u003c/a> on photos of Trayvon Martin showing his middle finger—this was essential.\u003c/p>\n\u003cp>https://youtu.be/crMTGCCui5c\u003c/p>\n\u003cp>“[Oscar] has to deal with his baby mama; he has to deal with money; he has to figure out what to do with this dog; his job has some stress,” says Carvell Wallace, an Oakland-based critic who has \u003ca href=\"https://www.nytimes.com/2018/02/12/magazine/why-black-panther-is-a-defining-moment-for-black-america.html\" target=\"_blank\" rel=\"noopener noreferrer\">covered Coogler’s work\u003c/a> for \u003cem>The New York Times\u003c/em>. “The way [Coogler] takes us through this allows us to relate to those things so we see him as a person. I think it’s important to see someone as a person before they become a hashtag, and that’s what the movements are always fighting for. And that’s an uphill battle.”\u003c/p>\n\u003cp>With a wide release in theaters across the country, \u003cem>Fruitvale Station\u003c/em> was essential for building empathy among non-black Americans who didn’t have personal experience with police brutality and racial injustice, and who might have felt threatened by the protests they saw on the news without understanding the underlying cause. “I think what Coogler did with that film was show Oscar Grant not as a ‘them’ but as a ‘you,'” says Wallace.\u003c/p>\n\u003cp>April Reign, a diversity advocate who coined the #OscarsSoWhite hashtag in response to a lack of black artists at the Academy Awards, says that \u003cem>Fruitvale Station\u003c/em> served another purpose: it emphasized the importance of documenting injustice with smartphones, which was instrumental to the Black Lives Matter movement as it took off nationally in 2013.\u003c/p>\n\u003cp>“The movie \u003cem>Fruitvale Station\u003c/em> was incredibly underrated and really brought to the forefront some of the issues that people had been fighting for years,” says Reign. “Not just talking about the issues of state-sanctioned violence, but also the question of filming the police, and how taking a stand in that way has the potential to make a difference when cops are involved in violence against American citizens, especially black men.”\u003c/p>\n\u003ch2>Black Lives Matter on the world stage\u003c/h2>\n\u003cp>The Bay Area artists politicized during the Oscar Grant protests found a new calling with the Black Lives Matter movement, a rallying cry against systemic racism after the high-profile killings of Martin, Mike Brown and Eric Garner.\u003c/p>\n\u003cp>Oakland artist \u003ca href=\"http://www.oreeoriginol.com/justiceforourlives.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oree Original\u003c/a> created dozens of downloadable portraits of victims of police brutality that Black Lives Matter activists carried at marches nationwide. And \u003ca href=\"http://chinakahodge.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinaka Hodge\u003c/a>, a star of the Bay Area’s literary scene, debuted her critically acclaimed play \u003cem>Chasing Mehserle\u003c/em>, which toured the country after its local premiere in 2014.\u003c/p>\n\u003cfigure id=\"attachment_12624168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12624168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/oreeportrait-800x450.jpg\" alt=\"Artist Oree Originol\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Oree Originol with posters from his ‘Justice for Our Lives’ project. \u003ccite>(Manjula Varghese)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Lives Matter protests continued into 2016, following the deaths of Sandra Bland in Texas, Philando Castile in Minnesota and Alton Sterling in Louisiana. The movement entered the pop culture zeitgeist: Beyoncé brought Grant’s mother, Reverend Wanda Johnson, and the mothers of Brown, Martin and Garner to the \u003ca href=\"https://www.independent.co.uk/news/beyonce-brings-mothers-of-eric-garner-trayvon-martin-mike-brown-and-oscar-grant-to-vmas-2016-a7214741.html\" target=\"_blank\" rel=\"noopener noreferrer\">2016 VMAs\u003c/a>. Colin Kaepernick, whose kneeling protest against police brutality received support from Grant’s family, continues to be the biggest topic of conversation in the NFL.\u003c/p>\n\u003cp>Chart-topping artists like Migos and Young Thug mentioned victims of police violence in their songs; Kendrick Lamar made history at the \u003ca href=\"https://www.rollingstone.com/music/music-news/grammys-2016-king-kendrick-lamar-steals-the-show-178882/\" target=\"_blank\" rel=\"noopener noreferrer\">2016 Grammy Awards\u003c/a> with a performance that called out racism in the criminal justice system. Drawing from a long history of African-American protest art, the wave of artists demanding justice for Grant ushered in an era of creatives and entertainers speaking out against police brutality, and using social media to amplify the conversation.\u003c/p>\n\u003cp>“Artistry spring-boarded the Oscar Grant movement,” says Johnson, Grant’s uncle. “So today, when we see young men getting killed, there are forms of artistry that come into play… It’s carried on ever since.”\u003c/p>\n\u003cp>Ryan Coogler and Boots Riley kicked off a huge year for black cinema with the successes of their 2018 films \u003cem>Black Panther \u003c/em>and \u003cem>Sorry to Bother You\u003c/em>, and other critically acclaimed films from that year addressed police brutality directly. Director George Tillman Jr. based his movie about the aftermath of a police shooting, \u003cem>\u003ca href=\"https://www.latimes.com/entertainment/movies/la-ca-mn-sneaks-hate-u-give-20180830-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Hate U Give\u003c/a>, \u003c/em>on a young-adult novel by Angie Thomas, who began writing it after watching cellphone footage of Oscar Grant’s death. Similarly, \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal, both from Oakland, wrote the screenplay for\u003cem> Blindspotting\u003c/em>—about a man reeling from PTSD after witnessing a police shooting—in the aftermath of the Oscar Grant shooting.\u003c/p>\n\u003cp>“We were trying to match the nature of the national conversation about these kinds of killings,” Diggs \u003ca href=\"https://www.kqed.org/arts/13837184/blindspotting-is-a-spot-on-portrait-of-an-oakland-in-flux\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> KQED in a July 2018 interview about the film. “When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003ch2>Culture shifts, legislation stagnates\u003c/h2>\n\u003cp>Although the many examples of art to emerge from the fight against police brutality have shifted American consciousness and changed the culture, policy has been slow to catch up. California passed a law creating \u003ca href=\"https://www.aclusocal.org/en/press-releases/california-passes-landmark-police-transparency-and-accountability-legislation\" target=\"_blank\" rel=\"noopener noreferrer\">greater transparency in police misconduct cases\u003c/a> in 2018, but no sweeping state or federal reforms have taken place, especially regarding disciplining officers who abuse their authority. \u003ca href=\"https://www.washingtonpost.com/graphics/2018/national/police-shootings-2018/?utm_term=.a11ef20c2f4b\" target=\"_blank\" rel=\"noopener noreferrer\">Recent studies\u003c/a> estimate that police kill nearly 1,000 people a year in the United States, but \u003ca href=\"https://www.cnn.com/2017/05/18/us/police-involved-shooting-cases/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">only 80 officers\u003c/a> were arrested on murder or manslaughter chargers for on-duty shootings between 2005 and 2017. Of those, only 35 percent were convicted.\u003c/p>\n\u003cp>Oaklanders voted to replace an inefficient Citizens’ Police Review Board in 2016 with the Oakland Police Commission, which has more power to investigate and discipline officers accused of misconduct. But the board’s first year was marred by turmoil and leadership changes, with one commissioner calling it a “squandered opportunity” in her \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/11/29/oakland-police-commissioner-resigns-calling-the-oversight-boards-first-year-a-squandered-opportunity\" target=\"_blank\" rel=\"noopener noreferrer\">resignation letter in November 2018\u003c/a>.\u003c/p>\n\u003cp>With Donald Trump in office, police brutality is no longer a central focus for many non-black Americans as the administration enacts policies that undermine many other populations’ civil liberties. The lack of tangible progress feels deflating to some, but the fight against systemic racism started long before Oscar Grant—and will continue long after.\u003c/p>\n\u003cp>“The system hasn’t changed, and policing hasn’t become more transparent than it was before. It’s just more visible,” says Black Lives Matter’s Garza. “Black people are still being murdered.”\u003c/p>\n\u003cp>https://youtu.be/gRJboyRHfYo\u003c/p>\n\u003cp>For many of the artists who mobilized against police brutality ten years ago, the pain of Grant’s death and the fraught state of race relations in America are still front-of-mind. \u003ca href=\"https://www.kqed.org/news/11710770/honoring-oscar-grant-gets-political-at-bart-meeting\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, a street artist involved in the movement since at least 2009, is currently painting a new mural honoring Grant at Fruitvale BART station. Mistah F.A.B. recently filmed a music video at Fruitvale station for his new song “War Vibes,” where he raps face down on the platform—the position Grant found himself in during his last moments.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s unfortunate that these kids are being killed and stripped of their lives and their innocence,” Mistah F.A.B. says. “It’s not even safe outside. A trip to the store could end in you being beat up or shot by the police.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hours after Bay Area Rapid Transit police officer Johannes Mehserle shot and killed Oscar Grant on the platform of Fruitvale Station on Jan. 1, 2009, Bay Area street artists sprang into action. An Alameda printmaker named \u003ca href=\"http://www.gridlock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon-Paul Bail\u003c/a> churned out hundreds of “\u003ca href=\"https://nickcernak.com/wp-content/uploads/2017/05/20090205-political-gridlock-bart-283x400.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Disarm BART Police\u003c/a>” posters to hand out at demonstrations. An artist going by \u003ca href=\"https://endlesscanvas.com/?tag=justice-for-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Broke\u003c/a> printed “Justice for Oscar Grant” posters with stylized graffiti font. Designer \u003ca href=\"https://nickcernak.com/wp-content/uploads/2017/06/200903023-frank-zio-bloody-bart-258x400.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Frank Zio\u003c/a> depicted a BART ticket with a bloody fingerprint.\u003c/p>\n\u003cp>Meanwhile, a cellphone video of the killing went viral on YouTube and social media, galvanizing hundreds of demonstrators who faced off against police in riot gear in downtown Oakland. As they marched, they hoisted signs with Bail, Zio and Broke’s artwork, plus posters by Oakland artists such as \u003ca href=\"http://endlesscanvas.com/?tag=gats\" target=\"_blank\" rel=\"noopener noreferrer\">GATS\u003c/a> and Melanie Cervantes and Jesus Barraza of \u003ca href=\"https://dignidadrebelde.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>.\u003c/p>\n\u003cp>“Everyone was using everyone else’s images freely,” says Bail, who’s made political posters since the ’80s under the name \u003ca href=\"http://www.gridlock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Political Gridlock\u003c/a>. “There was no, ‘This is my image, this is your image.’ No one cared, we just made the art and donated it. Give them posters, go to the rallies.”\u003c/p>\n\u003cp>As helicopters loomed overhead, the images made their way from people’s hands onto city walls and shop windows—a constant reminder of Oakland’s civil unrest—amplifying demonstrators’ calls for accountability as news cameras captured their clashes with police.\u003c/p>\n\u003cp>Those confrontational tactics worked: with public pressure mounting, the Alameda County district attorney charged Mehserle with murder on Jan. 14, 2009, a statistical anomaly for an officer-involved shooting. With Mehserle in custody, a millennial uprising against police brutality began to form in Oakland a full five years before Black Lives Matter became a national rallying cry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Following in the footsteps of Tupac Shakur and the Black Panthers’ Emory Douglas, Oakland artists such as rapper Mistah F.A.B., rapper-turned-filmmaker Boots Riley, and \u003cem>Fruitvale Station\u003c/em> director Ryan Coogler lent their skills to the movement, and they brought followings of newly politicized young people with them. Ten years after Oscar Grant’s death, some of these artists have made a major impact on American pop culture, while others are still doing on-the-ground work in Oakland. All of them catalyzed a new generation of activists who rallied the nation against racial injustice and shifted American consciousness over the past decade.\u003c/p>\n\u003cfigure id=\"attachment_13847780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847780\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_0781-800x533.jpg\" alt=\"A Justice for Oscar Grant poster by street artist Broke. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Justice for Oscar Grant poster by street artist Broke. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I would say for those of us who created Black Lives Matter, it really does start with Oscar Grant as our Rodney King moment—where the violence our communities experience every day was actually captured on video and circulated around the world,” says Black Lives Matter co-founder Alicia Garza.\u003c/p>\n\u003cp>“I think what Mistah F.A.B. and other artists were able to do is speak to folks who are not part of coalitions, who are not part of organizations … and allow them to be a part of the change that needs to happen,” Garza says. “Talking about the role that police violence plays in communities every day is a big part of how people are being reached and being told, ‘You’re not alone,’ one, and, two, ‘You can do something about it.'”\u003c/p>\n\u003ch2>Artists become community organizers\u003c/h2>\n\u003cp>As street artists handed out posters in the weeks after Grant’s death, the Bay Area’s rap scene mobilized to create a soundtrack for the protests. Mistah F.A.B., a central figure of the 2000s hyphy movement, recorded and released “\u003ca href=\"https://mistahfab.bandcamp.com/album/oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">My Life (Oscar Grant)\u003c/a>” the day of the shooting. On the track, he drew attention to an ongoing pattern of police brutality against the black community, which he says mainstream society mostly ignored until it was captured on camera. “See, I’m from a city, man / Where police brutality ain’t nothin’ new to us, man / It’s another Oscar Grant that happens every day,” he rapped.\u003c/p>\n\u003cp>Oscar Grant hadn’t yet become a national news story on Jan. 1, 2009, but Mistah F.A.B. knew he had fans he could reach all over the country through MySpace, Bandcamp and YouTube. That month, he wore an Oscar Grant T-shirt for a TV appearance on BET. “I think expressing what was going on in the city through art was very important because there were individuals who hadn’t heard about the atrocities outside of our area,” he tells me in a recent interview.\u003c/p>\n\u003cfigure id=\"attachment_12997915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-800x450.jpg\" alt=\"Mistah F.A.B.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For artists, rappers, singers, directors—it definitely lit a fire under the people and let them know, we have to address these things,” Mistah F.A.B. says. \u003c/span>\u003c/p>\n\u003cp>Other Bay Area rappers, including \u003ca href=\"https://www.youtube.com/watch?v=8fWeMeqinIE\" target=\"_blank\" rel=\"noopener noreferrer\">J Stalin and Beeda Weeda\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=xQFajNZMxM8\" target=\"_blank\" rel=\"noopener noreferrer\">Zumbi of Zion I\u003c/a> and \u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">Young Gully\u003c/a>, recorded their own protest songs and homages to Grant. And music wasn’t the only way they took action: F.A.B. and \u003cem>Sorry to Bother You\u003c/em> director Boots Riley, then known as a rapper in The Coup, were on the front lines at Oakland City Hall in the days after the shooting to organize outraged Oaklanders.\u003c/p>\n\u003cp>Protests continued throughout 2009 and 2010 as Mehserle’s trial unfolded. In July 2010, a jury convicted the former police officer of involuntary manslaughter. He served 11 months of his two-year sentence, prompting more protests upon his early release in June 2011.\u003c/p>\n\u003cp>That same year, a new movement percolated in New York City: Occupy Wall Street, a protest against corporate interests and wealth inequality. As Occupy protests took root across the country, the center of the action in Oakland was Frank Ogawa Plaza at City Hall, which activists dubbed Oscar Grant Plaza. Following the unofficial name change, calling out racism in the criminal justice system became a core tenet of Occupy Oakland even as the national movement emphasized economics.\u003c/p>\n\u003cp>Many key people from the Oscar Grant protests showed up. Boots Riley \u003ca href=\"http://www.look2remember.com/2011/12/11/boots-riley-at-occupy-oakland-general-strike/\" target=\"_blank\" rel=\"noopener noreferrer\">led direct actions\u003c/a> as police encroached on the Occupy encampment; Mistah F.A.B. delivered speeches on the City Hall steps alongside Nation of Islam leaders and members of Oscar Grant’s family.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Xym-xl8zLNw'\n title='//www.youtube.com/embed/Xym-xl8zLNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jon-Paul Bail and fellow street artist \u003ca href=\"https://www.instagram.com/rebelstilskin/\" target=\"_blank\" rel=\"noopener noreferrer\">Kalleb Arefaine\u003c/a> arrived to screenprint thousands of posters on site, handing them directly to demonstrators. Graffiti artists, including \u003ca href=\"http://endlesscanvas.com/?p=5004\" target=\"_blank\" rel=\"noopener noreferrer\">Eesuu\u003c/a> and \u003ca href=\"http://endlesscanvas.com/?p=4940\" target=\"_blank\" rel=\"noopener noreferrer\">Optimist\u003c/a>, joined the cause, covering the city with “Justice for Oscar Grant” posters and tags. Oscar Grant murals and wheatpasted posters showed up all over town as protesters camped out in front of City Hall.\u003c/p>\n\u003cp>“When the news and everyone was complaining about the graffiti,” recalls Arefaine, “it broadcasted the message even more.”\u003c/p>\n\u003ch2>Grant’s family enlists artists’ help\u003c/h2>\n\u003cp>During the height of Occupy Oakland, Oscar Grant’s uncle Cephus Johnson, known to many as Uncle Bobby, saw Bail screenprinting at a protest and approached him to collaborate on a new design for a vigil he’d planned for the third anniversary of Grant’s death on Jan. 1, 2012. This time, Bail enlisted another artist, \u003ca href=\"http://cargocollective.com/2amisthetime/filter/2amart/About\" target=\"_blank\" rel=\"noopener noreferrer\">Aambr Newsome a.k.a. 2AM\u003c/a>, who was a Berkeley City College student at the time. Newsome and Bail drew a stylized portrait of a smiling Oscar Grant, illuminated by sunshine with protest signs in the background.\u003c/p>\n\u003cp>Newsome recalls how Oscar Grant’s murder awakened her to the reality of police violence against black communities in America. She felt a sense of duty to lend her illustration skills to the cause. “For me, it was really important providing assistance to those families who feel like they don’t have a voice, that nobody is listening, and to really give them something to march with,” she says. “I think that makes them louder. It makes them a bit more proud so they feel like they have supporters backing them.”\u003c/p>\n\u003cfigure id=\"attachment_13847781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847781\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_0786-800x533.jpg\" alt=\"Kalleb Arefaine and Jon-Paul Bail printed thousands of anti-police brutality posters over the past decade. Bail (right) holds a poster he created with Aambr Newsom in 2012.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kalleb Arefaine and Jon-Paul Bail printed thousands of anti-police brutality posters over the past decade. Bail (right) holds a poster he created with Aambr Newsom in 2012. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson, who assumed the role of family spokesperson after founding the \u003ca href=\"http://www.lovenotbloodcampaign.com\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant Foundation\u003c/a> in 2010, collaborated with numerous artists in the wake of Grant’s death. Johnson’s voice appears on rapper Young Gully’s album \u003cem>\u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">The Grant Station Project\u003c/a> \u003c/em>on the heartfelt final track, “Letter to Grant,” where Gully raps from the perspective of Grant in heaven. (KQED’s Pendarvis Harshaw was an executive producer on the album.)\u003c/p>\n\u003cp>Young Gully recalls how Johnson was skeptical of his intentions until he heard “Letter to Grant” being recorded in the studio. “When Uncle Bobby heard that, he cried. That one song is what allowed me to put that album out,” Gully says. “After that, he saw what my angle was. We built this big relationship, and basically he loved me for that.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3032191159/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For Johnson, working with artists was crucial for drawing attention to injustice, and especially getting young people on board with the fight against police brutality. “Artistry from muralists, hip-hop artists—and artists period, whether they be spoken-word artists, portraitists—they all shared their gifts when it came time to talk about Oscar Grant and speak about the social ills of the system concerning police violence, state-sponsored violence,” he says. “It was young people speaking to young people, and us elders heard their call and responded.”\u003c/p>\n\u003ch2>The movement hits the big screen\u003c/h2>\n\u003cp>The “Justice for Oscar Grant” poster Newsome and Bail created with Johnson’s blessing ended up in \u003cem>Black Panther\u003c/em> director Ryan Coogler’s debut feature film, \u003cem>Fruitvale Station\u003c/em>, about the final 24 hours of Oscar Grant’s life.\u003c/p>\n\u003cp>Coogler, an Oakland native who was only a year older than Grant at the time of the killing, painted a portrait of Grant as an imperfect but loving young father attempting to get his life on track after a stint behind bars. The humanizing portrayal was crucial to the developing national conversation about racial injustice, which only grew more tense after the high-profile shooting of Trayvon Martin in 2012.\u003c/p>\n\u003cp>By the time \u003cem>Fruitvale Station\u003c/em> hit theaters in 2013, Oscar Grant had become a martyr, a symbol and a hashtag after four years of protests in his name. But \u003cem>Fruitvale Station\u003c/em> brought the focus back on Grant as a regular, working-class young man finding his way. At a time when news media regularly vilified victims of police brutality—for example, \u003ca href=\"https://www.theatlantic.com/politics/archive/2012/03/what-did-trayvon-look-depends-your-politics/329893/\" target=\"_blank\" rel=\"noopener noreferrer\">the fixation\u003c/a> on photos of Trayvon Martin showing his middle finger—this was essential.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/crMTGCCui5c'\n title='//www.youtube.com/embed/crMTGCCui5c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“[Oscar] has to deal with his baby mama; he has to deal with money; he has to figure out what to do with this dog; his job has some stress,” says Carvell Wallace, an Oakland-based critic who has \u003ca href=\"https://www.nytimes.com/2018/02/12/magazine/why-black-panther-is-a-defining-moment-for-black-america.html\" target=\"_blank\" rel=\"noopener noreferrer\">covered Coogler’s work\u003c/a> for \u003cem>The New York Times\u003c/em>. “The way [Coogler] takes us through this allows us to relate to those things so we see him as a person. I think it’s important to see someone as a person before they become a hashtag, and that’s what the movements are always fighting for. And that’s an uphill battle.”\u003c/p>\n\u003cp>With a wide release in theaters across the country, \u003cem>Fruitvale Station\u003c/em> was essential for building empathy among non-black Americans who didn’t have personal experience with police brutality and racial injustice, and who might have felt threatened by the protests they saw on the news without understanding the underlying cause. “I think what Coogler did with that film was show Oscar Grant not as a ‘them’ but as a ‘you,'” says Wallace.\u003c/p>\n\u003cp>April Reign, a diversity advocate who coined the #OscarsSoWhite hashtag in response to a lack of black artists at the Academy Awards, says that \u003cem>Fruitvale Station\u003c/em> served another purpose: it emphasized the importance of documenting injustice with smartphones, which was instrumental to the Black Lives Matter movement as it took off nationally in 2013.\u003c/p>\n\u003cp>“The movie \u003cem>Fruitvale Station\u003c/em> was incredibly underrated and really brought to the forefront some of the issues that people had been fighting for years,” says Reign. “Not just talking about the issues of state-sanctioned violence, but also the question of filming the police, and how taking a stand in that way has the potential to make a difference when cops are involved in violence against American citizens, especially black men.”\u003c/p>\n\u003ch2>Black Lives Matter on the world stage\u003c/h2>\n\u003cp>The Bay Area artists politicized during the Oscar Grant protests found a new calling with the Black Lives Matter movement, a rallying cry against systemic racism after the high-profile killings of Martin, Mike Brown and Eric Garner.\u003c/p>\n\u003cp>Oakland artist \u003ca href=\"http://www.oreeoriginol.com/justiceforourlives.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oree Original\u003c/a> created dozens of downloadable portraits of victims of police brutality that Black Lives Matter activists carried at marches nationwide. And \u003ca href=\"http://chinakahodge.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinaka Hodge\u003c/a>, a star of the Bay Area’s literary scene, debuted her critically acclaimed play \u003cem>Chasing Mehserle\u003c/em>, which toured the country after its local premiere in 2014.\u003c/p>\n\u003cfigure id=\"attachment_12624168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12624168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/oreeportrait-800x450.jpg\" alt=\"Artist Oree Originol\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Oree Originol with posters from his ‘Justice for Our Lives’ project. \u003ccite>(Manjula Varghese)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Lives Matter protests continued into 2016, following the deaths of Sandra Bland in Texas, Philando Castile in Minnesota and Alton Sterling in Louisiana. The movement entered the pop culture zeitgeist: Beyoncé brought Grant’s mother, Reverend Wanda Johnson, and the mothers of Brown, Martin and Garner to the \u003ca href=\"https://www.independent.co.uk/news/beyonce-brings-mothers-of-eric-garner-trayvon-martin-mike-brown-and-oscar-grant-to-vmas-2016-a7214741.html\" target=\"_blank\" rel=\"noopener noreferrer\">2016 VMAs\u003c/a>. Colin Kaepernick, whose kneeling protest against police brutality received support from Grant’s family, continues to be the biggest topic of conversation in the NFL.\u003c/p>\n\u003cp>Chart-topping artists like Migos and Young Thug mentioned victims of police violence in their songs; Kendrick Lamar made history at the \u003ca href=\"https://www.rollingstone.com/music/music-news/grammys-2016-king-kendrick-lamar-steals-the-show-178882/\" target=\"_blank\" rel=\"noopener noreferrer\">2016 Grammy Awards\u003c/a> with a performance that called out racism in the criminal justice system. Drawing from a long history of African-American protest art, the wave of artists demanding justice for Grant ushered in an era of creatives and entertainers speaking out against police brutality, and using social media to amplify the conversation.\u003c/p>\n\u003cp>“Artistry spring-boarded the Oscar Grant movement,” says Johnson, Grant’s uncle. “So today, when we see young men getting killed, there are forms of artistry that come into play… It’s carried on ever since.”\u003c/p>\n\u003cp>Ryan Coogler and Boots Riley kicked off a huge year for black cinema with the successes of their 2018 films \u003cem>Black Panther \u003c/em>and \u003cem>Sorry to Bother You\u003c/em>, and other critically acclaimed films from that year addressed police brutality directly. Director George Tillman Jr. based his movie about the aftermath of a police shooting, \u003cem>\u003ca href=\"https://www.latimes.com/entertainment/movies/la-ca-mn-sneaks-hate-u-give-20180830-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Hate U Give\u003c/a>, \u003c/em>on a young-adult novel by Angie Thomas, who began writing it after watching cellphone footage of Oscar Grant’s death. Similarly, \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal, both from Oakland, wrote the screenplay for\u003cem> Blindspotting\u003c/em>—about a man reeling from PTSD after witnessing a police shooting—in the aftermath of the Oscar Grant shooting.\u003c/p>\n\u003cp>“We were trying to match the nature of the national conversation about these kinds of killings,” Diggs \u003ca href=\"https://www.kqed.org/arts/13837184/blindspotting-is-a-spot-on-portrait-of-an-oakland-in-flux\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> KQED in a July 2018 interview about the film. “When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003ch2>Culture shifts, legislation stagnates\u003c/h2>\n\u003cp>Although the many examples of art to emerge from the fight against police brutality have shifted American consciousness and changed the culture, policy has been slow to catch up. California passed a law creating \u003ca href=\"https://www.aclusocal.org/en/press-releases/california-passes-landmark-police-transparency-and-accountability-legislation\" target=\"_blank\" rel=\"noopener noreferrer\">greater transparency in police misconduct cases\u003c/a> in 2018, but no sweeping state or federal reforms have taken place, especially regarding disciplining officers who abuse their authority. \u003ca href=\"https://www.washingtonpost.com/graphics/2018/national/police-shootings-2018/?utm_term=.a11ef20c2f4b\" target=\"_blank\" rel=\"noopener noreferrer\">Recent studies\u003c/a> estimate that police kill nearly 1,000 people a year in the United States, but \u003ca href=\"https://www.cnn.com/2017/05/18/us/police-involved-shooting-cases/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">only 80 officers\u003c/a> were arrested on murder or manslaughter chargers for on-duty shootings between 2005 and 2017. Of those, only 35 percent were convicted.\u003c/p>\n\u003cp>Oaklanders voted to replace an inefficient Citizens’ Police Review Board in 2016 with the Oakland Police Commission, which has more power to investigate and discipline officers accused of misconduct. But the board’s first year was marred by turmoil and leadership changes, with one commissioner calling it a “squandered opportunity” in her \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/11/29/oakland-police-commissioner-resigns-calling-the-oversight-boards-first-year-a-squandered-opportunity\" target=\"_blank\" rel=\"noopener noreferrer\">resignation letter in November 2018\u003c/a>.\u003c/p>\n\u003cp>With Donald Trump in office, police brutality is no longer a central focus for many non-black Americans as the administration enacts policies that undermine many other populations’ civil liberties. The lack of tangible progress feels deflating to some, but the fight against systemic racism started long before Oscar Grant—and will continue long after.\u003c/p>\n\u003cp>“The system hasn’t changed, and policing hasn’t become more transparent than it was before. It’s just more visible,” says Black Lives Matter’s Garza. “Black people are still being murdered.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gRJboyRHfYo'\n title='//www.youtube.com/embed/gRJboyRHfYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For many of the artists who mobilized against police brutality ten years ago, the pain of Grant’s death and the fraught state of race relations in America are still front-of-mind. \u003ca href=\"https://www.kqed.org/news/11710770/honoring-oscar-grant-gets-political-at-bart-meeting\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, a street artist involved in the movement since at least 2009, is currently painting a new mural honoring Grant at Fruitvale BART station. Mistah F.A.B. recently filmed a music video at Fruitvale station for his new song “War Vibes,” where he raps face down on the platform—the position Grant found himself in during his last moments.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s unfortunate that these kids are being killed and stripped of their lives and their innocence,” Mistah F.A.B. says. “It’s not even safe outside. A trip to the store could end in you being beat up or shot by the police.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar",
"title": "In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True",
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"content": "\u003cp>If you feel your cheeks burning with familiarity as you watch Boots Riley’s directorial debut \u003cem>Sorry To Bother You\u003c/em>, you’re not alone—especially if you’re from Oakland. Whether it’s the film’s reference to The Rusty Skupper, where Oakland party promoter Geoffrey Pete once threw parties, or the iconic Cathedral Building at Telegraph and Broadway, or downtown dive bar The Layover, I caught about 20 hot flashes as a veritable déjà-vu checklist unfolded on the screen. Telemarketing job with ex-punk middle management? Check. Boyfriend that lived in a garage? Check. Paying for gas for your not-even-close-to-legal rustbucket car with pocket change? You know it.\u003c/p>\n\u003cp>Set in an alternate-universe Oakland, \u003cem>Sorry To Bother You\u003c/em> follows Cassius Green, played by \u003cem>Atlanta\u003c/em>’s Lakeith Stanfield, as he makes one Faustian moral compromise after another in pursuit of paying the bills. Cassius’ downward spiral begins with a coworker (Danny Glover) advising him to “use your white voice” (a tone reminiscent of a children’s show puppet, dubbed by real-life white guy David Cross) in order to climb the ladder at his telemarketing job (set in the Kaiser building in downtown Oakland). It then winds its way through a dark corporate netherworld of slimy despair. The “don’t sell out” moral of the story is delivered with all of the subtlety of a circus clown with an erection, but appropriately so—there’s nothing subtle in being a person of color fighting to survive capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13836461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-800x533.jpg\" alt=\"Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of 'Sorry to Bother You' with members of the Scraper Bike team in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of ‘Sorry to Bother You’ with members of the Scraper Bike team in Oakland. \u003ccite>(Pete Lee / Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Could there be parallels between Cassius’ rise from telemarketing pit worker to “power caller” and Riley’s path from hometown activist musician to widely lauded Hollywood director? Riley may not be as accessible as he once was as he undertakes a grueling promotional tour for the film, but even a brief conversation puts any fears of moral compromise to rest.\u003c/p>\n\u003cp>When I ask Riley a question about his movie, it turns into a lengthy history on the necessity of rent control. In other words, this is still the same Boots Riley that most people know from his 25 years fronting radical East Bay hip-hop group The Coup. And it’s Riley’s intimacy with the Oakland that a lot of us know—full of artists and activists, diverse, and currently under siege by corporate interests—that lends an undercurrent of believability to the kaleidoscopic version of The Town presented in \u003cem>Sorry To Bother You\u003c/em>. Degrading jobs, homelessness, corporate greed, and police brutality are viewed through a cartoon lens that’s equal parts hilarious and horrifying. It’s a balancing act that could easily take a wrong turn in the hands of an outsider with a two-dimensional view of Oakland, but in Riley’s hands, there’s a lot of truth in the bright and absurd universe that he’s constructed.\u003c/p>\n\u003cfigure id=\"attachment_13836464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-800x533.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley will be the first to tell you he didn’t construct it alone. True to his Communist roots, \u003cem>Sorry To Bother You\u003c/em> was a collective effort. In addition to phenomenal production designer Jason Kisvarday (\u003cem>Swiss Army Man\u003c/em>) and costume designer Deirdra Govan, a host of local talent contributed to the color and animated details that make the film as fun to watch as an R-rated version of \u003cem>Pee Wee’s Playhouse\u003c/em>. The graphic lettering that appears throughout the film was designed by local children’s book illustrator J. Otto Seibold. You might be able to spot a few of your friends and neighbors in the protest scene on Franklin Street alongside an “Adult Content” sculpture created by conceptual artist Spy Emerson. Rapper and philanthropist Mistah F.A.B. has a memorable cameo. (As for institutional support, Riley got assistance from SFFILM, the Rainin Foundation, and McSweeney’s, which originally published the script in 2014, among others.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local music fans might also notice a humorous mention in the film of journalist Eric Arnold, who distinguished himself by writing about Oakland hip-hop in publications like \u003cem>4080\u003c/em>, \u003cem>The Source\u003c/em>, \u003cem>Wax Poetics\u003c/em>, \u003cem>Complex\u003c/em>, and the \u003cem>East Bay Express\u003c/em>.\u003c/p>\n\u003cp>“That Eric Arnold thing,” Riley explains, “that was one of those things where you’re writing and you’re like ‘What’s this character’s name?’ and you put it down thinking you’ll change it later to something that sounds cool. And then I just realized as it was being said, ‘Oh, I never changed that one.’ I had to call him up and be like ‘Your name is in the movie.’”\u003c/p>\n\u003cp>The fashion in the film? Oakland again. Tessa Thompson’s character Detroit is a radical artist with a strong moral compass and an enviable wardrobe, which Thompson and costume designer Govan designed by driving through Oakland and observing women around town. Detroit wears oversized J. Otto Seibold-designed text earrings that read “You’re Gonna Have To Fight/Your Own Damn War” (shoutout to Prince), a bikini made from latex gloves, a hairstyle directly inspired by a friend of Riley’s named Messiah, and a shirt that reads “The Future is Female Ejaculation.”\u003c/p>\n\u003cfigure id=\"attachment_13836462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg\" alt=\"Tessa Thompson in 'Sorry to Bother You,' with earrings designed by J. Otto Seibold.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1200x503.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-520x218.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson in ‘Sorry to Bother You,’ with earrings designed by J. Otto Seibold. \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sorry To Bother You\u003c/em> isn’t the first black science fiction film set in Oakland. The other well-known two, Sun Ra’s \u003cem>Space is the Place\u003c/em> and Ryan Coogler’s \u003cem>Black Panther\u003c/em>, are decidedly afrofuturist, whereas \u003cem>Sorry To Bother You\u003c/em> feels like it exists outside that amorphous genre. Maybe because, in spite of its magical realism, it’s tethered to so much reality.\u003c/p>\n\u003cp>“My beef with a lot of sci-fi is that going so far in the future, or going into space, or going into another dimension makes it so safe that nobody cares what you’re saying,” Riley tells me. “You can make something that’s threatening revolution, but if it’s happening in space or it’s happening in the Chicago of 200 years from now, no one will really care. No one will find it threatening.”\u003c/p>\n\u003cp>Indeed, even the fantasy elements of \u003cem>Sorry To Bother You\u003c/em> seem plausible. The employee living quarters of the Worry Free corporation – bunk-bed barracks reminiscent of an Ikea-sponsored orphanage – would scarcely raise an eyebrow if you came across it during a Craigslist housing search in the Bay Area nowadays. But it wasn’t so long ago though that a greedy landlord charging $2,000 to live in a sheet fort off Fruitvale would have fueled dozens of outraged Facebook posts.\u003c/p>\n\u003cfigure id=\"attachment_13836463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg\" alt=\"Tessa Thompson on the set of 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson on the set of ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given this steep decline in expectations of decency, coupled with the rapid advancements in technology that have occurred since the original script was drafted in 2012, I wondered if there had been anything Riley had to remove because it had proven prophetic.\u003c/p>\n\u003cp>“There were things that I had to change because they got too normal. Omari [Hardwick]’s character had a line, and this is in the script that ended up being published in 2014, where he says ‘Worry Free is going to make America great again’… So I had to take that out,” Riley tells me. “There’s the whole soda commercial in it, which is very much like the Kylie Jenner Pepsi commercial. All of the homeless camps—that’s in the script. They didn’t exist then. Not to the scale that it is now.”\u003c/p>\n\u003cp>Although it contains much that will be relatable, particularly for Bay Area audiences, \u003cem>Sorry To Bother You\u003c/em> is also, well, insane. As Cassius begins the upward climb that triggers his downward spiral, recovery wisdom dictates that he will eventually hit the proverbial rock bottom. But the moment never seems to come. \u003cem>“This must be it… Oh damn! Ok, THIS must be it. Nope…”\u003c/em> The film reaches a \u003cem>Caligula\u003c/em> level of batshittery that comes out of the blue, trust me.\u003c/p>\n\u003cp>And despite \u003cem>Sorry To Bother You\u003c/em>’s wild and subversive nature, don’t make the same misstep I made and call it a cult film. Not to Riley, anyway. He predicts that it’s exactly the type of movie a growing segment of the mainstream is craving; the same audience that made Jordan Peele’s horror film \u003cem>Get Out\u003c/em> such a huge success.\u003c/p>\n\u003cp>Peele came from comedy, and Riley came from hip-hop. But Riley also comes from Oakland, and that’s what gives \u003cem>Sorry to Bother You\u003c/em> its magic. When a creative and ambitious 47-year-old anarchist rapper Trojan-horses his way into Hollywood, the result is something new, a thrilling type of chaos bulging at the seams and somehow still fitting into the regimented structure of filmmaking. A man who went from “\u003ca href=\"http://www.metrolyrics.com/sneakin-in-lyrics-the-coup.html\" target=\"_blank\" rel=\"noopener\">sneakin’ in to Eastmont Cinemas\u003c/a>” to making a widely distributed and star-studded revolutionary film? That might be the most magical element of all.\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>‘Sorry to Bother You’ is released in theaters Friday, July 6.\u003c/em>\u003c/p>\n\n",
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"title": "In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True | KQED",
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"headline": "In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you feel your cheeks burning with familiarity as you watch Boots Riley’s directorial debut \u003cem>Sorry To Bother You\u003c/em>, you’re not alone—especially if you’re from Oakland. Whether it’s the film’s reference to The Rusty Skupper, where Oakland party promoter Geoffrey Pete once threw parties, or the iconic Cathedral Building at Telegraph and Broadway, or downtown dive bar The Layover, I caught about 20 hot flashes as a veritable déjà-vu checklist unfolded on the screen. Telemarketing job with ex-punk middle management? Check. Boyfriend that lived in a garage? Check. Paying for gas for your not-even-close-to-legal rustbucket car with pocket change? You know it.\u003c/p>\n\u003cp>Set in an alternate-universe Oakland, \u003cem>Sorry To Bother You\u003c/em> follows Cassius Green, played by \u003cem>Atlanta\u003c/em>’s Lakeith Stanfield, as he makes one Faustian moral compromise after another in pursuit of paying the bills. Cassius’ downward spiral begins with a coworker (Danny Glover) advising him to “use your white voice” (a tone reminiscent of a children’s show puppet, dubbed by real-life white guy David Cross) in order to climb the ladder at his telemarketing job (set in the Kaiser building in downtown Oakland). It then winds its way through a dark corporate netherworld of slimy despair. The “don’t sell out” moral of the story is delivered with all of the subtlety of a circus clown with an erection, but appropriately so—there’s nothing subtle in being a person of color fighting to survive capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13836461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-800x533.jpg\" alt=\"Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of 'Sorry to Bother You' with members of the Scraper Bike team in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of ‘Sorry to Bother You’ with members of the Scraper Bike team in Oakland. \u003ccite>(Pete Lee / Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Could there be parallels between Cassius’ rise from telemarketing pit worker to “power caller” and Riley’s path from hometown activist musician to widely lauded Hollywood director? Riley may not be as accessible as he once was as he undertakes a grueling promotional tour for the film, but even a brief conversation puts any fears of moral compromise to rest.\u003c/p>\n\u003cp>When I ask Riley a question about his movie, it turns into a lengthy history on the necessity of rent control. In other words, this is still the same Boots Riley that most people know from his 25 years fronting radical East Bay hip-hop group The Coup. And it’s Riley’s intimacy with the Oakland that a lot of us know—full of artists and activists, diverse, and currently under siege by corporate interests—that lends an undercurrent of believability to the kaleidoscopic version of The Town presented in \u003cem>Sorry To Bother You\u003c/em>. Degrading jobs, homelessness, corporate greed, and police brutality are viewed through a cartoon lens that’s equal parts hilarious and horrifying. It’s a balancing act that could easily take a wrong turn in the hands of an outsider with a two-dimensional view of Oakland, but in Riley’s hands, there’s a lot of truth in the bright and absurd universe that he’s constructed.\u003c/p>\n\u003cfigure id=\"attachment_13836464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-800x533.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley will be the first to tell you he didn’t construct it alone. True to his Communist roots, \u003cem>Sorry To Bother You\u003c/em> was a collective effort. In addition to phenomenal production designer Jason Kisvarday (\u003cem>Swiss Army Man\u003c/em>) and costume designer Deirdra Govan, a host of local talent contributed to the color and animated details that make the film as fun to watch as an R-rated version of \u003cem>Pee Wee’s Playhouse\u003c/em>. The graphic lettering that appears throughout the film was designed by local children’s book illustrator J. Otto Seibold. You might be able to spot a few of your friends and neighbors in the protest scene on Franklin Street alongside an “Adult Content” sculpture created by conceptual artist Spy Emerson. Rapper and philanthropist Mistah F.A.B. has a memorable cameo. (As for institutional support, Riley got assistance from SFFILM, the Rainin Foundation, and McSweeney’s, which originally published the script in 2014, among others.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local music fans might also notice a humorous mention in the film of journalist Eric Arnold, who distinguished himself by writing about Oakland hip-hop in publications like \u003cem>4080\u003c/em>, \u003cem>The Source\u003c/em>, \u003cem>Wax Poetics\u003c/em>, \u003cem>Complex\u003c/em>, and the \u003cem>East Bay Express\u003c/em>.\u003c/p>\n\u003cp>“That Eric Arnold thing,” Riley explains, “that was one of those things where you’re writing and you’re like ‘What’s this character’s name?’ and you put it down thinking you’ll change it later to something that sounds cool. And then I just realized as it was being said, ‘Oh, I never changed that one.’ I had to call him up and be like ‘Your name is in the movie.’”\u003c/p>\n\u003cp>The fashion in the film? Oakland again. Tessa Thompson’s character Detroit is a radical artist with a strong moral compass and an enviable wardrobe, which Thompson and costume designer Govan designed by driving through Oakland and observing women around town. Detroit wears oversized J. Otto Seibold-designed text earrings that read “You’re Gonna Have To Fight/Your Own Damn War” (shoutout to Prince), a bikini made from latex gloves, a hairstyle directly inspired by a friend of Riley’s named Messiah, and a shirt that reads “The Future is Female Ejaculation.”\u003c/p>\n\u003cfigure id=\"attachment_13836462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg\" alt=\"Tessa Thompson in 'Sorry to Bother You,' with earrings designed by J. Otto Seibold.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1200x503.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-520x218.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson in ‘Sorry to Bother You,’ with earrings designed by J. Otto Seibold. \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sorry To Bother You\u003c/em> isn’t the first black science fiction film set in Oakland. The other well-known two, Sun Ra’s \u003cem>Space is the Place\u003c/em> and Ryan Coogler’s \u003cem>Black Panther\u003c/em>, are decidedly afrofuturist, whereas \u003cem>Sorry To Bother You\u003c/em> feels like it exists outside that amorphous genre. Maybe because, in spite of its magical realism, it’s tethered to so much reality.\u003c/p>\n\u003cp>“My beef with a lot of sci-fi is that going so far in the future, or going into space, or going into another dimension makes it so safe that nobody cares what you’re saying,” Riley tells me. “You can make something that’s threatening revolution, but if it’s happening in space or it’s happening in the Chicago of 200 years from now, no one will really care. No one will find it threatening.”\u003c/p>\n\u003cp>Indeed, even the fantasy elements of \u003cem>Sorry To Bother You\u003c/em> seem plausible. The employee living quarters of the Worry Free corporation – bunk-bed barracks reminiscent of an Ikea-sponsored orphanage – would scarcely raise an eyebrow if you came across it during a Craigslist housing search in the Bay Area nowadays. But it wasn’t so long ago though that a greedy landlord charging $2,000 to live in a sheet fort off Fruitvale would have fueled dozens of outraged Facebook posts.\u003c/p>\n\u003cfigure id=\"attachment_13836463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg\" alt=\"Tessa Thompson on the set of 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson on the set of ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given this steep decline in expectations of decency, coupled with the rapid advancements in technology that have occurred since the original script was drafted in 2012, I wondered if there had been anything Riley had to remove because it had proven prophetic.\u003c/p>\n\u003cp>“There were things that I had to change because they got too normal. Omari [Hardwick]’s character had a line, and this is in the script that ended up being published in 2014, where he says ‘Worry Free is going to make America great again’… So I had to take that out,” Riley tells me. “There’s the whole soda commercial in it, which is very much like the Kylie Jenner Pepsi commercial. All of the homeless camps—that’s in the script. They didn’t exist then. Not to the scale that it is now.”\u003c/p>\n\u003cp>Although it contains much that will be relatable, particularly for Bay Area audiences, \u003cem>Sorry To Bother You\u003c/em> is also, well, insane. As Cassius begins the upward climb that triggers his downward spiral, recovery wisdom dictates that he will eventually hit the proverbial rock bottom. But the moment never seems to come. \u003cem>“This must be it… Oh damn! Ok, THIS must be it. Nope…”\u003c/em> The film reaches a \u003cem>Caligula\u003c/em> level of batshittery that comes out of the blue, trust me.\u003c/p>\n\u003cp>And despite \u003cem>Sorry To Bother You\u003c/em>’s wild and subversive nature, don’t make the same misstep I made and call it a cult film. Not to Riley, anyway. He predicts that it’s exactly the type of movie a growing segment of the mainstream is craving; the same audience that made Jordan Peele’s horror film \u003cem>Get Out\u003c/em> such a huge success.\u003c/p>\n\u003cp>Peele came from comedy, and Riley came from hip-hop. But Riley also comes from Oakland, and that’s what gives \u003cem>Sorry to Bother You\u003c/em> its magic. When a creative and ambitious 47-year-old anarchist rapper Trojan-horses his way into Hollywood, the result is something new, a thrilling type of chaos bulging at the seams and somehow still fitting into the regimented structure of filmmaking. A man who went from “\u003ca href=\"http://www.metrolyrics.com/sneakin-in-lyrics-the-coup.html\" target=\"_blank\" rel=\"noopener\">sneakin’ in to Eastmont Cinemas\u003c/a>” to making a widely distributed and star-studded revolutionary film? That might be the most magical element of all.\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>‘Sorry to Bother You’ is released in theaters Friday, July 6.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.sundance.org/social-events/benefit-events/la-summer-benefit-2018#/\" target=\"_blank\" rel=\"noopener\">Sundance Institute\u003c/a> announced Tuesday that it’s honoring Boots Riley, the Oakland rapper-turned-director behind the sci-fi film \u003ci>Sorry To Bother You,\u003c/i> with the Vanguard Award for emerging artists.\u003c/p>\n\u003cp>[contextly_sidebar id=”H0nLoeciqkYYSe0cCnOXI1GmkwyRSrCd”]\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> is Riley’s directorial debut, and the award puts him in company with previous winners Dee Rees, director of \u003ci>Mudbound;\u003c/i> and \u003ci>Birth Of A Nation\u003c/i> director Nate Parker.\u003c/p>\n\u003cp>Riley’s film gets its nationwide release on July 6 and critics are already describing it as “\u003ca href=\"https://io9.gizmodo.com/sorry-to-bother-you-is-the-most-surreal-important-scif-1823802147\" target=\"_blank\" rel=\"noopener\">the most surreal, important sci-fi movie in years\u003c/a>.” Starring Lakeith Stanfield (\u003ci>Get Out\u003c/i>) and Tessa Thompson (\u003ci>Creed\u003c/i>, \u003ci>Selma\u003c/i>), the film follows an African-American telemarketer in Oakland who becomes successful after developing a white accent.\u003c/p>\n\u003cp>Before making \u003ci>Sorry To Bother You,\u003c/i> 47-year-old Riley was best known as a rapper with the Coup and the Street Sweeper Social Club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sundance will honor Riley and screen his new film on July 14 at the Ace Hotel in Los Angeles. Tickets for the event range from $40 to $500, and proceeds go to grants and other programs at the Sundance Institute. Films such as \u003ci>Fruitvale Station\u003c/i>, \u003ci>The Diary Of A Teenage Girl\u003c/i>, and Riley’s own movie all received assistance from the institute’s screenwriter’s and director’s labs.\u003c/p>\n\u003cp>Watch the trailer for \u003cem>Sorry To Bother You\u003c/em> below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=enH3xA4mYcY\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.sundance.org/social-events/benefit-events/la-summer-benefit-2018#/\" target=\"_blank\" rel=\"noopener\">Sundance Institute\u003c/a> announced Tuesday that it’s honoring Boots Riley, the Oakland rapper-turned-director behind the sci-fi film \u003ci>Sorry To Bother You,\u003c/i> with the Vanguard Award for emerging artists.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> is Riley’s directorial debut, and the award puts him in company with previous winners Dee Rees, director of \u003ci>Mudbound;\u003c/i> and \u003ci>Birth Of A Nation\u003c/i> director Nate Parker.\u003c/p>\n\u003cp>Riley’s film gets its nationwide release on July 6 and critics are already describing it as “\u003ca href=\"https://io9.gizmodo.com/sorry-to-bother-you-is-the-most-surreal-important-scif-1823802147\" target=\"_blank\" rel=\"noopener\">the most surreal, important sci-fi movie in years\u003c/a>.” Starring Lakeith Stanfield (\u003ci>Get Out\u003c/i>) and Tessa Thompson (\u003ci>Creed\u003c/i>, \u003ci>Selma\u003c/i>), the film follows an African-American telemarketer in Oakland who becomes successful after developing a white accent.\u003c/p>\n\u003cp>Before making \u003ci>Sorry To Bother You,\u003c/i> 47-year-old Riley was best known as a rapper with the Coup and the Street Sweeper Social Club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sundance will honor Riley and screen his new film on July 14 at the Ace Hotel in Los Angeles. Tickets for the event range from $40 to $500, and proceeds go to grants and other programs at the Sundance Institute. Films such as \u003ci>Fruitvale Station\u003c/i>, \u003ci>The Diary Of A Teenage Girl\u003c/i>, and Riley’s own movie all received assistance from the institute’s screenwriter’s and director’s labs.\u003c/p>\n\u003cp>Watch the trailer for \u003cem>Sorry To Bother You\u003c/em> below:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/enH3xA4mYcY'\n title='//www.youtube.com/embed/enH3xA4mYcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 22-May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828213/walking-a-mile-in-iron-shoes-at-shotgun-players\" target=\"_blank\" rel=\"noopener\">Deconstructing folk tales in the play \u003cem>Iron Shoes\u003c/em> at the Shotgun Players\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 5-8: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">The Bay Area’s Meklit Hadero and Mali’s Fatoumata Diawara \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">take the lead in a mini-fest of music of the African diaspora at SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Shoutouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 8 & 12\u003c/strong>: \u003ca href=\"https://www.livenation.com/artists/200262/gloria-trevi-alejandra-guzman\" target=\"_blank\" rel=\"noopener\">Exuberant Mexican Pop from Gloria Trevi and Alejandra Guzmán at the SAP Center and Golden 1 Center \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.phenomenal-anomalies.org/upcoming/\" target=\"_blank\" rel=\"noopener\">The Phenomenal Anomalies do a free dance performance on the Lincoln Steps in San Francisco \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 22-May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828213/walking-a-mile-in-iron-shoes-at-shotgun-players\" target=\"_blank\" rel=\"noopener\">Deconstructing folk tales in the play \u003cem>Iron Shoes\u003c/em> at the Shotgun Players\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 5-8: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">The Bay Area’s Meklit Hadero and Mali’s Fatoumata Diawara \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">take the lead in a mini-fest of music of the African diaspora at SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Shoutouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 8 & 12\u003c/strong>: \u003ca href=\"https://www.livenation.com/artists/200262/gloria-trevi-alejandra-guzman\" target=\"_blank\" rel=\"noopener\">Exuberant Mexican Pop from Gloria Trevi and Alejandra Guzmán at the SAP Center and Golden 1 Center \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.phenomenal-anomalies.org/upcoming/\" target=\"_blank\" rel=\"noopener\">The Phenomenal Anomalies do a free dance performance on the Lincoln Steps in San Francisco \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Filmmakers Well Represented at the SF International Film Festival",
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"content": "\u003cp>The San Francisco International Film Festival (SFIFF) opens April 4 with a nearly-endless variety of features, shorts and documentaries from around the world. But despite it having “international” in the name, there’s always a local angle at SFIFF. \u003c/p>\n\u003cp>Opening night is reserved for \u003cem>A Kid Like Jake, \u003c/em>directed by Silas Howard. He was a guitarist with the San Francisco “queercore” punk band Tribe 8, before doing films, and working on the show \u003cem>Transparent\u003c/em>. In an interview at Sundance, Howard described what drew him to this film that stars Clair Danes and Jim Parsons as parents trying to find the right kindergarten for their Gender Fluid child: “I’m very fond of characters saying the wrong thing, and then ultimately doing the right thing. Especially when someone you care about is maybe at risk of being hurt or made fun of.”\u003c/p>\n\u003cfigure id=\"attachment_13828196\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg\" alt=\"'A Kid Like Jake' features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-520x331.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Kid Like Jake’ features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard \u003ccite>(Courtesy of Sundance Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And another local angle, Howard got a grant to help finance this film from SFFILM and San Francisco’s Kenneth Rainin Foundation.\u003c/p>\n\u003cp>Both my co-host and I are most excited about the debut film for Oakland musician Boots Riley, who directed and wrote the film \u003cem>Sorry to Bother You\u003c/em>. It’s a wild comedy set in Oakland about Cassius Green (Lakeith Greenfield), a black man, who gets a job as a telemarketer, and then becomes a phenomenal success by pretending to have a “white voice.” Arnie Hammer, Terry Crews and Bay Area resident Danny Glover co-star, and it looks hilarious and a bit surreal.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XaBGcorkzpk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other films with Bay Area connections include \u003cem>Come Inside My Mind, \u003c/em>a documentary about Robin Williams; \u003cem>Endgame\u003c/em>, a film about hospice directed by Bay Area filmmakers Rob Epstein and Jeffrey Friedman. And the festival is honoring Bay Area filmmaker Wayne Wang, who made \u003cem>Smoke\u003c/em>, \u003cem>Chan is Missing\u003c/em>, \u003cem>Dim Sum\u003c/em>, and \u003cem>The Joy Luck Club\u003c/em>. The festival runs April 4-17 at the Castro and other theaters in San Francisco, and the Grand Lake and the PFA in Berkeley. \u003ca href=\"https://www.sffilm.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uem9TbvQpFk\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco International Film Festival (SFIFF) opens April 4 with a nearly-endless variety of features, shorts and documentaries from around the world. But despite it having “international” in the name, there’s always a local angle at SFIFF. \u003c/p>\n\u003cp>Opening night is reserved for \u003cem>A Kid Like Jake, \u003c/em>directed by Silas Howard. He was a guitarist with the San Francisco “queercore” punk band Tribe 8, before doing films, and working on the show \u003cem>Transparent\u003c/em>. In an interview at Sundance, Howard described what drew him to this film that stars Clair Danes and Jim Parsons as parents trying to find the right kindergarten for their Gender Fluid child: “I’m very fond of characters saying the wrong thing, and then ultimately doing the right thing. Especially when someone you care about is maybe at risk of being hurt or made fun of.”\u003c/p>\n\u003cfigure id=\"attachment_13828196\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg\" alt=\"'A Kid Like Jake' features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-520x331.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Kid Like Jake’ features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard \u003ccite>(Courtesy of Sundance Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And another local angle, Howard got a grant to help finance this film from SFFILM and San Francisco’s Kenneth Rainin Foundation.\u003c/p>\n\u003cp>Both my co-host and I are most excited about the debut film for Oakland musician Boots Riley, who directed and wrote the film \u003cem>Sorry to Bother You\u003c/em>. It’s a wild comedy set in Oakland about Cassius Green (Lakeith Greenfield), a black man, who gets a job as a telemarketer, and then becomes a phenomenal success by pretending to have a “white voice.” Arnie Hammer, Terry Crews and Bay Area resident Danny Glover co-star, and it looks hilarious and a bit surreal.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XaBGcorkzpk'\n title='//www.youtube.com/embed/XaBGcorkzpk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other films with Bay Area connections include \u003cem>Come Inside My Mind, \u003c/em>a documentary about Robin Williams; \u003cem>Endgame\u003c/em>, a film about hospice directed by Bay Area filmmakers Rob Epstein and Jeffrey Friedman. And the festival is honoring Bay Area filmmaker Wayne Wang, who made \u003cem>Smoke\u003c/em>, \u003cem>Chan is Missing\u003c/em>, \u003cem>Dim Sum\u003c/em>, and \u003cem>The Joy Luck Club\u003c/em>. The festival runs April 4-17 at the Castro and other theaters in San Francisco, and the Grand Lake and the PFA in Berkeley. \u003ca href=\"https://www.sffilm.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uem9TbvQpFk'\n title='//www.youtube.com/embed/uem9TbvQpFk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Let's Overanalyze the Trailer for Boots Riley's 'Sorry to Bother You'",
"headTitle": "Let’s Overanalyze the Trailer for Boots Riley’s ‘Sorry to Bother You’ | KQED",
"content": "\u003cp>If you’ve been counting down the days until this summer’s release of \u003ci>Sorry to Bother You\u003c/i>, the Oakland-filmed, Oakland-set feature from first-time writer and director Boots Riley, this might help ease the pain of waiting: The official trailer has arrived, and I’m here to overanalyze it.\u003c/p>\n\u003cp>https://youtu.be/enH3xA4mYcY\u003c/p>\n\u003cp>In the first three seconds, stuff’s already weird. \u003c/p>\n\u003cp>Cassius “Cash” Green (Lakeith Stanfield) flips through channels on a television set and frenetic clips play in rapid succession. We see him and his girlfriend Detroit (Tessa Thompson) kiss in front of coordinated backup dancers while the text “Have a Cola And Smile Bitch” frames their pose. Then: Riot cops and protesters clash. Chaos! Then: A gleeful Steve Lift (Armie Hammer) appears on bizarro CNN with the chryon, “Worryfree Genetic Advancements Cause Largest Stock Market Rally in History.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>I know what you’re saying to yourself. How could all these scenes possibly coexist within the same movie? And there’s still two and a half minutes left in this trailer?\u003c/p>\n\u003cp>The preview sets Cash up as a hapless hero. He drives around in a beat-up car that he fills with 40 cents’ worth of gas at a time. He and Detroit try to canoodle in his room, but when one of the walls suddenly disappears, it turns out he lives in his uncle’s garage (Terry Crews) — and he owes rent. \u003c/p>\n\u003cp>It’s when we see Cash with a new job in telemarketing that the surreal visuals promised in the opening sequence return. As he cold-calls a family, Cash and his work desk drop jarringly into their living room. He’s barely halfway through the titular phrase before he gets hung up on. One more fail.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Enter coworker Langston (Danny Glover) with some sage advice: “You want to make some money here, use your white voice.” Boom, Cash’s mind is blown. His voice now dubbed by David Cross, Cash high fives his manager at work, pops a champagne bottle and gets promoted upstairs as a “power caller.”\u003c/p>\n\u003cp>Cue a fast-paced montage of Cash climbing the executive ladder: a gold elevator that talks, Omari Hardwick in an eyepatch and mutton chops, more riots, mostly white business folks toasting each other while perched on oversized blonde hardwood stairs. There’s clearly something nefarious about the upper levels of this company.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Meanwhile, a crisis of conscience looms. “They’re not selling what we’re selling,” says Langston, ominously. Detroit isn’t into the new suit-wearing Cash. And like many hapless kindhearted guys who experience meteoric rises to success, Cash finds himself questioning just how he got here. Then a bottle of “cola” hits him in the head. A callback to that opening sequence, perhaps?\u003c/p>\n\u003cp>A seemingly coked-up gun-wielding Steve Lift appears once more to lure a terrified-looking Cash back to the dark side with a monetary offer, and we’re out: the trailer is over, and meanwhile, stars like Patton Oswalt promise that \u003ca href=\"https://twitter.com/pattonoswalt/status/972975066089603072\" rel=\"noopener\" target=\"_blank\">the film itself is even crazier\u003c/a> than this short teaser. (Four words: genetically modified horse people.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cstrong>Stray observations:\u003c/strong>\u003c/p>\n\u003cp>Tessa Thompson’s style in every single scene is second to none.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Steven Yeun plays a character named Squeeze, but we don’t get any clues about his role in the film beyond a fairly impressive sign-twirling display.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>The thrill of seeing a BART train in a major motion picture will never ever get old. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> comes to theaters on July 6. \u003c/p>\n\u003cp>\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "There's 117 days to go before this much-anticipated movie hits theaters, but a needlessly in-depth look at the trailer helps tide us over.",
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"description": "There's 117 days to go before this much-anticipated movie hits theaters, but a needlessly in-depth look at the trailer helps tide us over.",
"title": "Let's Overanalyze the Trailer for Boots Riley's 'Sorry to Bother You' | KQED",
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"headline": "Let's Overanalyze the Trailer for Boots Riley's 'Sorry to Bother You'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been counting down the days until this summer’s release of \u003ci>Sorry to Bother You\u003c/i>, the Oakland-filmed, Oakland-set feature from first-time writer and director Boots Riley, this might help ease the pain of waiting: The official trailer has arrived, and I’m here to overanalyze it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/enH3xA4mYcY'\n title='//www.youtube.com/embed/enH3xA4mYcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the first three seconds, stuff’s already weird. \u003c/p>\n\u003cp>Cassius “Cash” Green (Lakeith Stanfield) flips through channels on a television set and frenetic clips play in rapid succession. We see him and his girlfriend Detroit (Tessa Thompson) kiss in front of coordinated backup dancers while the text “Have a Cola And Smile Bitch” frames their pose. Then: Riot cops and protesters clash. Chaos! Then: A gleeful Steve Lift (Armie Hammer) appears on bizarro CNN with the chryon, “Worryfree Genetic Advancements Cause Largest Stock Market Rally in History.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>I know what you’re saying to yourself. How could all these scenes possibly coexist within the same movie? And there’s still two and a half minutes left in this trailer?\u003c/p>\n\u003cp>The preview sets Cash up as a hapless hero. He drives around in a beat-up car that he fills with 40 cents’ worth of gas at a time. He and Detroit try to canoodle in his room, but when one of the walls suddenly disappears, it turns out he lives in his uncle’s garage (Terry Crews) — and he owes rent. \u003c/p>\n\u003cp>It’s when we see Cash with a new job in telemarketing that the surreal visuals promised in the opening sequence return. As he cold-calls a family, Cash and his work desk drop jarringly into their living room. He’s barely halfway through the titular phrase before he gets hung up on. One more fail.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Enter coworker Langston (Danny Glover) with some sage advice: “You want to make some money here, use your white voice.” Boom, Cash’s mind is blown. His voice now dubbed by David Cross, Cash high fives his manager at work, pops a champagne bottle and gets promoted upstairs as a “power caller.”\u003c/p>\n\u003cp>Cue a fast-paced montage of Cash climbing the executive ladder: a gold elevator that talks, Omari Hardwick in an eyepatch and mutton chops, more riots, mostly white business folks toasting each other while perched on oversized blonde hardwood stairs. There’s clearly something nefarious about the upper levels of this company.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Meanwhile, a crisis of conscience looms. “They’re not selling what we’re selling,” says Langston, ominously. Detroit isn’t into the new suit-wearing Cash. And like many hapless kindhearted guys who experience meteoric rises to success, Cash finds himself questioning just how he got here. Then a bottle of “cola” hits him in the head. A callback to that opening sequence, perhaps?\u003c/p>\n\u003cp>A seemingly coked-up gun-wielding Steve Lift appears once more to lure a terrified-looking Cash back to the dark side with a monetary offer, and we’re out: the trailer is over, and meanwhile, stars like Patton Oswalt promise that \u003ca href=\"https://twitter.com/pattonoswalt/status/972975066089603072\" rel=\"noopener\" target=\"_blank\">the film itself is even crazier\u003c/a> than this short teaser. (Four words: genetically modified horse people.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cstrong>Stray observations:\u003c/strong>\u003c/p>\n\u003cp>Tessa Thompson’s style in every single scene is second to none.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Steven Yeun plays a character named Squeeze, but we don’t get any clues about his role in the film beyond a fairly impressive sign-twirling display.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>The thrill of seeing a BART train in a major motion picture will never ever get old. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> comes to theaters on July 6. \u003c/p>\n\u003cp>\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Boots Riley's 'Sorry to Bother You' at SF International Film Festival",
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"content": "\u003cp>The hotly anticipated feature by musician and now-filmmaker Boots Riley, \u003ci>Sorry to Bother You\u003c/i> — \u003ca href=\"https://www.kqed.org/arts/13747358/danny-glover-patton-oswalt-join-boots-riley-film-in-oakland\" rel=\"noopener\" target=\"_blank\">seen filming around Oakland last summer\u003c/a> — makes its Bay Area debut on April 12 as the Centerpiece event this year’s San Francisco International Film Festival. \u003c/p>\n\u003cp>Scooped up at Sundance by \u003ca href=\"http://variety.com/2018/film/news/sundance-sorry-to-bother-you-annapurna-1202677125/\" rel=\"noopener\" target=\"_blank\">Annapurna Pictures\u003c/a> with the memorable statement, “We f**king love this movie,” the film stars Lakeith Stanfield (\u003cem>Get Out\u003c/em>), Tessa Thompson (\u003cem>Thor: Ragnarok\u003c/em>) and Armie Hammer (\u003cem>Call Me By Your Name\u003c/em>). \u003c/p>\n\u003cp>Based partially on Riley’s experience of working as a telemarketer, \u003ci>Sorry to Bother You\u003c/i> takes place in an alternate reality of present-day Oakland. A black telemarketer (Stanfield) discovers a magical key to professional success — to make his voice sound “white.” Blurring genre lines between comedy, sci-fi and magic realism, the film also features a species of genetically manipulated horse-people named the “Equisapiens.” Expect social satire touching on greed, capitalism and racial dynamics, and plenty of recognizable landmarks. \u003c/p>\n\u003cp>The film screens on Thursday, April 12, at San Francisco’s Castro Theatre at 6:30pm, and the same night at Oakland’s Grand Lake Theatre at 8pm. Riley and cast members (no news on which ones yet) are expected to participate in intros and Q&As.\u003c/p>\n\u003cp>Tickets to \u003cem>Centerpiece: Sorry to Bother You\u003c/em> are $20 for SFFILM members (\u003ca href=\"https://www.sffilm.org/screenings-and-events/sorry-to-bother-you\" rel=\"noopener\" target=\"_blank\">on sale now\u003c/a>) and $25 for the general public (on sale starting Friday, March 9, at 10am).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hotly anticipated feature by musician and now-filmmaker Boots Riley, \u003ci>Sorry to Bother You\u003c/i> — \u003ca href=\"https://www.kqed.org/arts/13747358/danny-glover-patton-oswalt-join-boots-riley-film-in-oakland\" rel=\"noopener\" target=\"_blank\">seen filming around Oakland last summer\u003c/a> — makes its Bay Area debut on April 12 as the Centerpiece event this year’s San Francisco International Film Festival. \u003c/p>\n\u003cp>Scooped up at Sundance by \u003ca href=\"http://variety.com/2018/film/news/sundance-sorry-to-bother-you-annapurna-1202677125/\" rel=\"noopener\" target=\"_blank\">Annapurna Pictures\u003c/a> with the memorable statement, “We f**king love this movie,” the film stars Lakeith Stanfield (\u003cem>Get Out\u003c/em>), Tessa Thompson (\u003cem>Thor: Ragnarok\u003c/em>) and Armie Hammer (\u003cem>Call Me By Your Name\u003c/em>). \u003c/p>\n\u003cp>Based partially on Riley’s experience of working as a telemarketer, \u003ci>Sorry to Bother You\u003c/i> takes place in an alternate reality of present-day Oakland. A black telemarketer (Stanfield) discovers a magical key to professional success — to make his voice sound “white.” Blurring genre lines between comedy, sci-fi and magic realism, the film also features a species of genetically manipulated horse-people named the “Equisapiens.” Expect social satire touching on greed, capitalism and racial dynamics, and plenty of recognizable landmarks. \u003c/p>\n\u003cp>The film screens on Thursday, April 12, at San Francisco’s Castro Theatre at 6:30pm, and the same night at Oakland’s Grand Lake Theatre at 8pm. Riley and cast members (no news on which ones yet) are expected to participate in intros and Q&As.\u003c/p>\n\u003cp>Tickets to \u003cem>Centerpiece: Sorry to Bother You\u003c/em> are $20 for SFFILM members (\u003ca href=\"https://www.sffilm.org/screenings-and-events/sorry-to-bother-you\" rel=\"noopener\" target=\"_blank\">on sale now\u003c/a>) and $25 for the general public (on sale starting Friday, March 9, at 10am).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Pam Warren, aka \u003ca href=\"https://www.pamthefunkstress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Pam the Funkstress\u003c/a>, a trailblazing DJ from the Peninsula, passed away on December 22 from organ failure according to friends familiar with her condition.\u003c/p>\n\u003cp>“It’s a massive loss for Bay Area hip-hop; it’s a huge loss for women in hip-hop; it’s a huge, huge loss for the DJ community,” says DJ Sake, a longtime friend of Pam’s who threw a weekly party with her in the late 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13818093\" class=\"wp-caption alignright\" style=\"max-width: 456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/pam-with-the-coup.jpg\" alt=\"Pam the Funkstress with the Coup in the early '90s.\" width=\"456\" height=\"546\" class=\"size-full wp-image-13818093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup.jpg 456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-375x449.jpg 375w\" sizes=\"(max-width: 456px) 100vw, 456px\">\u003cfigcaption class=\"wp-caption-text\">Pam the Funkstress with the Coup in the early ’90s. \u003ccite>(Courtesy of pamthefunkstress.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pam first rose to prominence as a battle DJ in the late ’80s and early ’90s, eventually going to become the DJ for the Coup, the Boots Riley-fronted political hip-hop group. The Coup was one of the first Oakland rap acts to gain national recognition with controversial releases like \u003cem>Kill My Landlord\u003c/em>. \u003c/p>\n\u003cp>In the years that followed, Pam became an important fixture in Oakland’s hip-hop scene. But music wasn’t her only passion: She was also a talented chef — sometimes even bringing her famous mac ‘n’ cheese to friends’ DJ gigs — and went on to become the chef and co-owner of Piccadilly Catering in Foster City around 2009.\u003c/p>\n\u003cp>In recent years, Pam had been active in the Bay Area nightlife scene as a club DJ. After she played an afterparty for a Prince concert in 2016, \u003ca href=\"https://pitchfork.com/thepitch/1096-meet-pam-the-funkstress-princes-new-dj/\" rel=\"noopener noreferrer\" target=\"_blank\">Prince personally invited her to accompany him on tour\u003c/a>; she was his tour DJ on his final concert series, A Piano and a Microphone, up until his untimely passing in 2016, earning her the nickname Purple Pam. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/x3JpxrHDUyM\u003c/p>\n\u003cp>In November, Pam posted on social media that she was cancelling all upcoming shows due to undisclosed health issues. She went into critical condition shortly after, but underwent a seemingly successful organ transplant surgery that month.\u003c/p>\n\u003cp>News of Pam’s death spread like wildfire today on social media, with tributes pouring in from fans, artists, and hip-hop elders alike. \u003c/p>\n\u003cdiv class=\"aligncenter\">\nhttps://www.instagram.com/p/BdBu58rH7kd/?taken-by=djshellheart\n\u003c/div>\n\u003cp>https://twitter.com/RawwG/status/944378788913168385\u003c/p>\n\u003cp>https://twitter.com/dreamhampton/status/944402085763862530\u003c/p>\n\u003cp>https://twitter.com/KevChoice/status/944396422950129664\u003c/p>\n\u003cp>https://twitter.com/williemaze/status/944383587230429184\u003c/p>\n\u003cp>Pam’s family and the Coup have yet to release an official statement. We’ll update this post as more information becomes available. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pam Warren, aka \u003ca href=\"https://www.pamthefunkstress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Pam the Funkstress\u003c/a>, a trailblazing DJ from the Peninsula, passed away on December 22 from organ failure according to friends familiar with her condition.\u003c/p>\n\u003cp>“It’s a massive loss for Bay Area hip-hop; it’s a huge loss for women in hip-hop; it’s a huge, huge loss for the DJ community,” says DJ Sake, a longtime friend of Pam’s who threw a weekly party with her in the late 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13818093\" class=\"wp-caption alignright\" style=\"max-width: 456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/pam-with-the-coup.jpg\" alt=\"Pam the Funkstress with the Coup in the early '90s.\" width=\"456\" height=\"546\" class=\"size-full wp-image-13818093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup.jpg 456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-375x449.jpg 375w\" sizes=\"(max-width: 456px) 100vw, 456px\">\u003cfigcaption class=\"wp-caption-text\">Pam the Funkstress with the Coup in the early ’90s. \u003ccite>(Courtesy of pamthefunkstress.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pam first rose to prominence as a battle DJ in the late ’80s and early ’90s, eventually going to become the DJ for the Coup, the Boots Riley-fronted political hip-hop group. The Coup was one of the first Oakland rap acts to gain national recognition with controversial releases like \u003cem>Kill My Landlord\u003c/em>. \u003c/p>\n\u003cp>In the years that followed, Pam became an important fixture in Oakland’s hip-hop scene. But music wasn’t her only passion: She was also a talented chef — sometimes even bringing her famous mac ‘n’ cheese to friends’ DJ gigs — and went on to become the chef and co-owner of Piccadilly Catering in Foster City around 2009.\u003c/p>\n\u003cp>In recent years, Pam had been active in the Bay Area nightlife scene as a club DJ. After she played an afterparty for a Prince concert in 2016, \u003ca href=\"https://pitchfork.com/thepitch/1096-meet-pam-the-funkstress-princes-new-dj/\" rel=\"noopener noreferrer\" target=\"_blank\">Prince personally invited her to accompany him on tour\u003c/a>; she was his tour DJ on his final concert series, A Piano and a Microphone, up until his untimely passing in 2016, earning her the nickname Purple Pam. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Entertainers Danny Glover, David Cross and Patton Oswalt have joined the cast of \u003cem>Sorry To Bother You,\u003c/em> the directorial debut from rapid-fire rapper Boots Riley. The online entertainment publication \u003ca href=\"http://deadline.com/2017/07/sorry-to-bother-you-movie-danny-glover-david-cross-patton-oswalt-boots-riley-1202136106/\" target=\"_blank\" rel=\"noopener noreferrer\">Deadline.com\u003c/a> announced the expansion of the cast on Wednesday.\u003c/p>\n\u003cp>Riley, who performs with the band \u003ca href=\"https://www.facebook.com/TheCoup/\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, and crew began shooting the \u003ca href=\"https://en.wikipedia.org/wiki/Sorry_to_Bother_You_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">comedy fantasy sci-fi film\u003c/a> in Riley’s hometown of Oakland last month.\u003c/p>\n\u003cp>“Boom. All this amazing talent coming together to make \u003cem>Sorry To Bother You\u003c/em> fly,” Riley wrote on his \u003ca href=\"https://www.facebook.com/boots.riley/posts/10155541981183664\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> about the casting update.\u003c/p>\n\u003cp>The new additions round-out an already star-packed cast that includes \u003ca href=\"http://www.imdb.com/name/nm3147751/\" target=\"_blank\" rel=\"noopener noreferrer\">Lakeith Stanfield\u003c/a> (\u003ci>Get Out\u003c/i>, \u003ci>Selma\u003c/i>) \u003ca href=\"http://www.imdb.com/name/nm1935086/\" target=\"_blank\" rel=\"noopener noreferrer\">Tessa Thompson \u003c/a>(\u003ci>Creed\u003c/i>, \u003ci>Selma\u003c/i>), \u003ca href=\"http://www.imdb.com/name/nm2309517/\" target=\"_blank\" rel=\"noopener noreferrer\">Armie Hammer\u003c/a> (\u003ci>Birth Of A Nation\u003c/i>, \u003ci>The Lone Ranger\u003c/i>), \u003ca href=\"http://www.imdb.com/name/nm3081796/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Yeun\u003c/a> (\u003ci>The Walking Dead\u003c/i>, \u003ci>Okja\u003c/i>) and \u003ca href=\"http://www.imdb.com/name/nm0187719/\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Crews\u003c/a> (\u003ci>Brooklyn Nine-Nine\u003c/i>, \u003ci>Idiocracy\u003c/i>).\u003c/p>\n\u003cp>The film, which is about a black telemarketer who discovers a magical key to success in business, was written by 46-year-old Riley, who once worked as a tele-fundraiser. Riley studied film at San Francisco State before his music career took off, and workshopped \u003cem>Sorry To Bother You\u003c/em> last year at the Sundance Directors Lab.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Significant Productions, the company behind \u003ci>Fruitvale Station\u003c/i> and \u003ci>Dope\u003c/i>, is producing the project. The shoot is scheduled to wrap up Friday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Entertainers Danny Glover, David Cross and Patton Oswalt have joined the cast of \u003cem>Sorry To Bother You,\u003c/em> the directorial debut from rapid-fire rapper Boots Riley. The online entertainment publication \u003ca href=\"http://deadline.com/2017/07/sorry-to-bother-you-movie-danny-glover-david-cross-patton-oswalt-boots-riley-1202136106/\" target=\"_blank\" rel=\"noopener noreferrer\">Deadline.com\u003c/a> announced the expansion of the cast on Wednesday.\u003c/p>\n\u003cp>Riley, who performs with the band \u003ca href=\"https://www.facebook.com/TheCoup/\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, and crew began shooting the \u003ca href=\"https://en.wikipedia.org/wiki/Sorry_to_Bother_You_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">comedy fantasy sci-fi film\u003c/a> in Riley’s hometown of Oakland last month.\u003c/p>\n\u003cp>“Boom. All this amazing talent coming together to make \u003cem>Sorry To Bother You\u003c/em> fly,” Riley wrote on his \u003ca href=\"https://www.facebook.com/boots.riley/posts/10155541981183664\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> about the casting update.\u003c/p>\n\u003cp>The new additions round-out an already star-packed cast that includes \u003ca href=\"http://www.imdb.com/name/nm3147751/\" target=\"_blank\" rel=\"noopener noreferrer\">Lakeith Stanfield\u003c/a> (\u003ci>Get Out\u003c/i>, \u003ci>Selma\u003c/i>) \u003ca href=\"http://www.imdb.com/name/nm1935086/\" target=\"_blank\" rel=\"noopener noreferrer\">Tessa Thompson \u003c/a>(\u003ci>Creed\u003c/i>, \u003ci>Selma\u003c/i>), \u003ca href=\"http://www.imdb.com/name/nm2309517/\" target=\"_blank\" rel=\"noopener noreferrer\">Armie Hammer\u003c/a> (\u003ci>Birth Of A Nation\u003c/i>, \u003ci>The Lone Ranger\u003c/i>), \u003ca href=\"http://www.imdb.com/name/nm3081796/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Yeun\u003c/a> (\u003ci>The Walking Dead\u003c/i>, \u003ci>Okja\u003c/i>) and \u003ca href=\"http://www.imdb.com/name/nm0187719/\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Crews\u003c/a> (\u003ci>Brooklyn Nine-Nine\u003c/i>, \u003ci>Idiocracy\u003c/i>).\u003c/p>\n\u003cp>The film, which is about a black telemarketer who discovers a magical key to success in business, was written by 46-year-old Riley, who once worked as a tele-fundraiser. Riley studied film at San Francisco State before his music career took off, and workshopped \u003cem>Sorry To Bother You\u003c/em> last year at the Sundance Directors Lab.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
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