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"bio": "Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.",
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"title": "No One Hustles Harder Than the Bay Area’s Hip-Hop Food Entrepreneurs",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]T[/dropcap]here’s no other rapper in the history of hustling who can serve you more flavors than E-40. If you don’t believe me, ask another certified Bay Area tycoon: San Francisco rapper Larry June.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a recent \u003ca href=\"https://www.complex.com/music/jay-z-rozay-ye-larry-june-crowns-the-ultimate-hustler-or-complex-brackets\">interview with Complex Brackets\u003c/a>, June—who co-owns \u003ca href=\"https://www.honeybearbobaco.com/\">Honeybear Boba\u003c/a> and “does numbers” with his music—credited E-40 as “the ultimate hustler.” In a genre of music that has produced figures like Jay-Z, Bun B, Sean Combs, Suge Knight, Gucci Mane, Nipsey Hussle, Nicki Minaj and countless other business savants, E-40 being crowned “the ultimate” speaks volumes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When I think of an ultimate hustler, I think of a person who’s been able to leverage their music to outside ventures,” B. Dot, the show’s host, told June.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By this standard, how could anyone not crown E-40 as the preeminent entrepreneur in the Hall of Game?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From purveying his own brand of \u003c/span>\u003ca href=\"https://earlstevensselections.com/\">\u003cspan style=\"font-weight: 400\">wines\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://ecuarenta.com/\">\u003cspan style=\"font-weight: 400\">tequilas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=YTe4FMYX5uU\">\u003cspan style=\"font-weight: 400\">cervezas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.forbes.com/sites/susannahbreslin/2015/09/27/e-40-sluricane/?sh=6a401ad56ab9\">\u003cspan style=\"font-weight: 400\">cocktails\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"http://40ozmaltliquor.com/brands/e40.php\">\u003cspan style=\"font-weight: 400\">malt liquor\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">; to \u003c/span>\u003ca href=\"https://sf.eater.com/2019/9/9/20857515/e-40-lumpia-company-co-owner-sf-oracle-park-filipino-food\">\u003cspan style=\"font-weight: 400\">dishing out lumpia\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">; to running \u003c/span>\u003ca href=\"https://rockthebells.com/articles/20-greatest-e-40-songs-sick-wid-it/\">\u003cspan style=\"font-weight: 400\">his own record label,\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> Sick Wid’ It, and releasing so many slappers in a lifetime that we have all lost count (\u003c/span>\u003ca href=\"https://www.xxlmag.com/e40-talks-releasing-three-albums-on-same-day-upcoming-too-hort-collaboration/\">\u003cspan style=\"font-weight: 400\">he once put out three albums in one day\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), no one better represents the art of calculated effort and long-term investment than Charlie Hustle himself. As he says on “Function,” this Ballatician could “sell the White House black paint.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, add to 40’s resume his latest and perhaps most intriguing venture: a food company.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://thegoonwiththespoon.com/\">\u003cspan style=\"font-weight: 400\">Goon With The Spoon\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is something the 54-year-old says fulfilled a “lifelong dream,” according to his \u003c/span>\u003ca href=\"https://www.instagram.com/p/CVc9LUgA2Ja/?utm_source=ig_embed&ig_rid=2cd17ab2-eabe-4051-9bcf-9a554cad0937\">\u003cspan style=\"font-weight: 400\">Instagram announcement\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The company’s pre-packaged sausages and burritos—offered in partnership with local barbecue chain Kinder’s Meats—playfully mirror the rapper’s inventive hip-hop vernacular (see: “Turf Burritos” and a “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=bRChz-OYi9o\">\u003cspan style=\"font-weight: 400\">Choices (Yum)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” variety pack).\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CNq2sdlMBrz/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The brand’s name references track six on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Revenue Retrievin’: Day Shift\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, when rapper B-Legit says, “I’m a beast with the mouthpiece, goon with the spoon,” boasting about both his wordplay in the booth and illicit skills in the kitchen. Like the lyrics, 40’s newest endeavor seeks to bend the norm and feed the streets—literally. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“No one better represents the art of calculated effort and long-term investment than Charlie Hustle himself.”[/pullquote]“[E-40] always takes the best of what he likes, then adds something unique to the table,” says Droop-E, E-40’s son, who is a rapper himself and consults on his dad’s business operations. “It’s pushing the envelope, just like how he brings a different style to the rap game. He’s just doing the same thing but in the food market.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the case of Goon With The Spoon, that fresh remix includes removing the pork casing from his sausages and introducing untraditional sausage flavors, such as Philly cheesesteak and teriyaki pineapple chicken.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13907801\" class=\"wp-caption alignright\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907801\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/A7R08481-scaled.jpg\" alt='Two \"turf burritos\" inside a refrigerated display case.' width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Two of Goon With The Spoon’s prepackaged burritos, spotted at a liquor store in Vallejo. \u003ccite>(Darius Riley | HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But 40 and his team aren’t the only cooks in the kitchen. They’re part of a long legacy of entrepreneurialism in the Northern California rap scene.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There is arguably no place that demands more hustle than the Bay Area. It’s a soil that has cultivated a deep community of “ultimate hustlers”—rappers, activists, educators, poets, BART dancers, tech developers, revolutionaries, journalists, immigrants and other expressionists—who, going back to the Gold Rush of 1849, have had to embody a level of risk taking, multifaceted commerce and grit in order to thrive. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In today’s globally competitive and hyper-inflated Bay Area market, you need to be able to maneuver multiple services in order to get ahead—especially in light of reports that saddle the region with the notorious title of \u003c/span>\u003ca href=\"https://abc7news.com/sf-metro-area-most-expensive-to-live-cost-of-living-bay-home-prices-silicon-valley/11343904/\">\u003cspan style=\"font-weight: 400\">“most expensive place to live in the U.S.”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> For the true hustler, though, that high cost of living has simply inspired alternative forms of income.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Hustling is a huge part of the Bay Area rap aesthetic,” says hip-hop journalist Eric Arnold. “Going back to Too $hort and Freddy B in 1983 selling tapes on the bus line with no record label. It all started there.” In Arnold’s view, Too $hort may have been rap’s earliest player to showcase his entrepreneurial autonomy. The East Oakland rapper famously self-ignited his career by selling his music from the trunk of his vehicle, pioneering popular phrases like “born to mack” and “out the trunk”—terms that are still used in hip-hop to indicate one’s DIY ambitions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“As time went on, rappers and performers looked at things other than just the music as a form of economic sustainability,” Arnold says. “It could be \u003c/span>\u003ca href=\"https://www.forbes.com/sites/javierhasse/2020/09/16/berner/?sh=22e201a9541d\">\u003cspan style=\"font-weight: 400\">Berner being a partner in [the cannabis company] Cookies\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It could be \u003c/span>\u003ca href=\"http://www.daveyd.com/FullArticles/articleN149.asp\">\u003cspan style=\"font-weight: 400\">Pam the Funkstress formerly owning her restaurant\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and catering business, Piccadilly’s. \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/news/local/oaklands-mistah-f-a-b-dealing-clothing-and-life-lessons-in-his-dope-era-shop/2455765/\">\u003cspan style=\"font-weight: 400\">Look at F.A.B with Dope Era\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, some of the hottest gear in the streets right now.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The same can be said for a young Master P, who before making his name in New Orleans with No Limit Records—one of the most successful labels of the ’90s and ’00s—spent his formative years in Richmond operating his first business: \u003c/span>\u003ca href=\"https://theurbandaily.com/1336195/black-music-moment-55-master-ps-no-limit-records-founded/\">\u003cspan style=\"font-weight: 400\">No Limit Record Shop\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The idea that rap is the only thing people can do as rappers and DJs is false,” Arnold says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Eric Arnold\"]“Rappers and performers looked at things other than just the music as a form of economic sustainability.”[/pullquote]From the Hieroglyphics running their own record label in 1995 and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13865645/hieroglyphics-hip-hop-holy-day-celebrated-the-bay-areas-independent-spirit\">\u003cspan style=\"font-weight: 400\">curating a yearly, community showcase\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for other artists, to the Coup’s \u003c/span>\u003ca href=\"https://www.chicagotribune.com/entertainment/movies/ct-mov-boots-riley-0713-story.html\">\u003cspan style=\"font-weight: 400\">Boots Riley becoming a renowned screenwriter\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and director in recent years, there is no shortage of local rappers, DJs, and producers who have made an indelible impact on the region’s culture with their outside ventures. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it’s with food and drinks that Bay Area hip-hop has delivered its best work.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Who else but Larry June is rapping about fresh smoothies while actually owning a \u003ca href=\"https://www.instagram.com/honeybearboba_/?hl=en\">popular boba shop\u003c/a>? From the Team’s \u003c/span>\u003ca href=\"https://www.sfgate.com/column/article/Bay-Area-Hyphy-Juice-Soda-Clyde-Carson-grapple-16480549.php\">\u003cspan style=\"font-weight: 400\">Clyde Carson co-owning Hyphy Juice\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, to the vaunted hustles of Nump, who owns a \u003c/span>\u003ca href=\"https://www.facebook.com/watch/?v=1263174667045544\">\u003cspan style=\"font-weight: 400\">doughnut shop\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (in addition to running \u003c/span>\u003ca href=\"https://eastbayexpress.com/its-easy-filipino-rapper-nump-enters-cannabis-delivery-service/\">\u003cspan style=\"font-weight: 400\">a cannabis delivery service that offers “Lumpia” blunts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), to \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://datebook.sfchronicle.com/music/hip-hop-has-become-an-influencer-in-the-bay-area-restaurant-industry\">Don Toriano\u003c/a>, who created the popular restaurant and \u003ca href=\"https://www.kqed.org/arts/13895209/vegan-mob-oakland-mission-sf-expansion-food-truck-toriano-gordon-senor-sisig-vegano\">food truck Vegan Mob\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">, a diversified food and beverage portfolio is perhaps the most defining contribution to the Bay Area rapper’s playbook, which is designed to be versatile and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=sxXsBTMuZgU\">\u003cspan style=\"font-weight: 400\">“Quarterbackin’.”\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Of course, we have 40 Fonzarelli to thank for that. More than anyone else it’s 40, carrying as many aliases as he does enterprises, who showcases the food game hustle that is interconnected with Bay Area rap culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“40 owned a Fatburger back in the day,” Arnold says. “He told you he was a hustler from day one, back in 1992. He was telling you that.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The fact that he’s still pushing weight and launching new ventures in 2021 shouldn’t shock anyone.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My pops is just super focused because he really enjoys what he does,” says Droop-E. “He’s always cooking for the family, asking us for our honest opinions. It tastes better when someone makes something they care about.”\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CYPlG9-Dwhu/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though \u003c/span>\u003ca href=\"https://www.kqed.org/pop/17076/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing\">\u003cspan style=\"font-weight: 400\">not all of 40’s pursuits have been received glowingly\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, no one can knock his hustle. Earl Stevens’ relentlessness to trailblaze multiple paths at once has provided a roadmap for generations of listeners, who in turn have embraced his freelancing spirit. His efforts have earned him recognition from media outlets that don’t typically seek out rappers for their food expertise, including \u003c/span>\u003ca href=\"https://www.forbes.com/sites/andreabossi/2021/03/24/legendary-rapper-e-40-talks-building-his-spirits-empire-owning-100/?sh=1c64ad2118cb\">\u003ci>\u003cspan style=\"font-weight: 400\">Forbes\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.businessinsider.com/e-40-interview-spirits-clubhouse-verzuz-2021-4\">\u003ci>\u003cspan style=\"font-weight: 400\">Business Insider\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://sf.eater.com/2018/2/1/16960322/e-40-tequila-line-e-cuarenta\">\u003cspan style=\"font-weight: 400\">Eater\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Through it all, he’s remained loyal to his soil—and helped to define it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think the Bay, if I was to put a finger on it, knows we’re not New York, LA, Chicago,” Arnold says. “You get used to being an underdog. You get used to taking an extra step because of the lack of media or industry infrastructure.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having that “extra step” is what elevates those who are driven to find and create their own lane, even when it may not seem possible.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13895209,arts_13890437']Although it has become more commonplace (and sometimes necessary) for people to have multiple sources of income here in the Bay, the region’s rappers have been laying the groundwork for this blueprint decades before it was normalized. However you cut the math, these hip-hop legends have been “revenue retrieving” and “currency collecting” the hard way since the early ’80s—back when most mainstream rappers were dependent on major brands and record labels to fuel their image, rather than creating their own. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For 40, the past few decades have been so flavorful that Droop-E told me he and his pops are planning to launch a line of ice cream soon, with up to seven different varieties. Fittingly, the Vallejo rapper’s newest hustle will be as the “\u003ca href=\"https://www.youtube.com/watch?v=OAqUP4Dt5co\">Ice Cream Man\u003c/a>,” a phrase coined back in ’93 by Bay Area counterparts Dru Down and Luniz, who later collaborated with 40 on the “I Got 5 On It” remix. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though his ice cream’s release dates have yet to be announced, Droop-E assures me it’s officially on the way.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like I said, no one serves more flavors than E-40.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>here’s no other rapper in the history of hustling who can serve you more flavors than E-40. If you don’t believe me, ask another certified Bay Area tycoon: San Francisco rapper Larry June.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a recent \u003ca href=\"https://www.complex.com/music/jay-z-rozay-ye-larry-june-crowns-the-ultimate-hustler-or-complex-brackets\">interview with Complex Brackets\u003c/a>, June—who co-owns \u003ca href=\"https://www.honeybearbobaco.com/\">Honeybear Boba\u003c/a> and “does numbers” with his music—credited E-40 as “the ultimate hustler.” In a genre of music that has produced figures like Jay-Z, Bun B, Sean Combs, Suge Knight, Gucci Mane, Nipsey Hussle, Nicki Minaj and countless other business savants, E-40 being crowned “the ultimate” speaks volumes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When I think of an ultimate hustler, I think of a person who’s been able to leverage their music to outside ventures,” B. Dot, the show’s host, told June.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By this standard, how could anyone not crown E-40 as the preeminent entrepreneur in the Hall of Game?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From purveying his own brand of \u003c/span>\u003ca href=\"https://earlstevensselections.com/\">\u003cspan style=\"font-weight: 400\">wines\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://ecuarenta.com/\">\u003cspan style=\"font-weight: 400\">tequilas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=YTe4FMYX5uU\">\u003cspan style=\"font-weight: 400\">cervezas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.forbes.com/sites/susannahbreslin/2015/09/27/e-40-sluricane/?sh=6a401ad56ab9\">\u003cspan style=\"font-weight: 400\">cocktails\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"http://40ozmaltliquor.com/brands/e40.php\">\u003cspan style=\"font-weight: 400\">malt liquor\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">; to \u003c/span>\u003ca href=\"https://sf.eater.com/2019/9/9/20857515/e-40-lumpia-company-co-owner-sf-oracle-park-filipino-food\">\u003cspan style=\"font-weight: 400\">dishing out lumpia\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">; to running \u003c/span>\u003ca href=\"https://rockthebells.com/articles/20-greatest-e-40-songs-sick-wid-it/\">\u003cspan style=\"font-weight: 400\">his own record label,\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> Sick Wid’ It, and releasing so many slappers in a lifetime that we have all lost count (\u003c/span>\u003ca href=\"https://www.xxlmag.com/e40-talks-releasing-three-albums-on-same-day-upcoming-too-hort-collaboration/\">\u003cspan style=\"font-weight: 400\">he once put out three albums in one day\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), no one better represents the art of calculated effort and long-term investment than Charlie Hustle himself. As he says on “Function,” this Ballatician could “sell the White House black paint.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, add to 40’s resume his latest and perhaps most intriguing venture: a food company.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://thegoonwiththespoon.com/\">\u003cspan style=\"font-weight: 400\">Goon With The Spoon\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is something the 54-year-old says fulfilled a “lifelong dream,” according to his \u003c/span>\u003ca href=\"https://www.instagram.com/p/CVc9LUgA2Ja/?utm_source=ig_embed&ig_rid=2cd17ab2-eabe-4051-9bcf-9a554cad0937\">\u003cspan style=\"font-weight: 400\">Instagram announcement\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The company’s pre-packaged sausages and burritos—offered in partnership with local barbecue chain Kinder’s Meats—playfully mirror the rapper’s inventive hip-hop vernacular (see: “Turf Burritos” and a “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=bRChz-OYi9o\">\u003cspan style=\"font-weight: 400\">Choices (Yum)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” variety pack).\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The brand’s name references track six on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Revenue Retrievin’: Day Shift\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, when rapper B-Legit says, “I’m a beast with the mouthpiece, goon with the spoon,” boasting about both his wordplay in the booth and illicit skills in the kitchen. Like the lyrics, 40’s newest endeavor seeks to bend the norm and feed the streets—literally. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“No one better represents the art of calculated effort and long-term investment than Charlie Hustle himself.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“[E-40] always takes the best of what he likes, then adds something unique to the table,” says Droop-E, E-40’s son, who is a rapper himself and consults on his dad’s business operations. “It’s pushing the envelope, just like how he brings a different style to the rap game. He’s just doing the same thing but in the food market.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the case of Goon With The Spoon, that fresh remix includes removing the pork casing from his sausages and introducing untraditional sausage flavors, such as Philly cheesesteak and teriyaki pineapple chicken.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13907801\" class=\"wp-caption alignright\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13907801\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/A7R08481-scaled.jpg\" alt='Two \"turf burritos\" inside a refrigerated display case.' width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/A7R08481-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Two of Goon With The Spoon’s prepackaged burritos, spotted at a liquor store in Vallejo. \u003ccite>(Darius Riley | HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But 40 and his team aren’t the only cooks in the kitchen. They’re part of a long legacy of entrepreneurialism in the Northern California rap scene.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There is arguably no place that demands more hustle than the Bay Area. It’s a soil that has cultivated a deep community of “ultimate hustlers”—rappers, activists, educators, poets, BART dancers, tech developers, revolutionaries, journalists, immigrants and other expressionists—who, going back to the Gold Rush of 1849, have had to embody a level of risk taking, multifaceted commerce and grit in order to thrive. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In today’s globally competitive and hyper-inflated Bay Area market, you need to be able to maneuver multiple services in order to get ahead—especially in light of reports that saddle the region with the notorious title of \u003c/span>\u003ca href=\"https://abc7news.com/sf-metro-area-most-expensive-to-live-cost-of-living-bay-home-prices-silicon-valley/11343904/\">\u003cspan style=\"font-weight: 400\">“most expensive place to live in the U.S.”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> For the true hustler, though, that high cost of living has simply inspired alternative forms of income.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Hustling is a huge part of the Bay Area rap aesthetic,” says hip-hop journalist Eric Arnold. “Going back to Too $hort and Freddy B in 1983 selling tapes on the bus line with no record label. It all started there.” In Arnold’s view, Too $hort may have been rap’s earliest player to showcase his entrepreneurial autonomy. The East Oakland rapper famously self-ignited his career by selling his music from the trunk of his vehicle, pioneering popular phrases like “born to mack” and “out the trunk”—terms that are still used in hip-hop to indicate one’s DIY ambitions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“As time went on, rappers and performers looked at things other than just the music as a form of economic sustainability,” Arnold says. “It could be \u003c/span>\u003ca href=\"https://www.forbes.com/sites/javierhasse/2020/09/16/berner/?sh=22e201a9541d\">\u003cspan style=\"font-weight: 400\">Berner being a partner in [the cannabis company] Cookies\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It could be \u003c/span>\u003ca href=\"http://www.daveyd.com/FullArticles/articleN149.asp\">\u003cspan style=\"font-weight: 400\">Pam the Funkstress formerly owning her restaurant\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and catering business, Piccadilly’s. \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/news/local/oaklands-mistah-f-a-b-dealing-clothing-and-life-lessons-in-his-dope-era-shop/2455765/\">\u003cspan style=\"font-weight: 400\">Look at F.A.B with Dope Era\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, some of the hottest gear in the streets right now.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The same can be said for a young Master P, who before making his name in New Orleans with No Limit Records—one of the most successful labels of the ’90s and ’00s—spent his formative years in Richmond operating his first business: \u003c/span>\u003ca href=\"https://theurbandaily.com/1336195/black-music-moment-55-master-ps-no-limit-records-founded/\">\u003cspan style=\"font-weight: 400\">No Limit Record Shop\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The idea that rap is the only thing people can do as rappers and DJs is false,” Arnold says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From the Hieroglyphics running their own record label in 1995 and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13865645/hieroglyphics-hip-hop-holy-day-celebrated-the-bay-areas-independent-spirit\">\u003cspan style=\"font-weight: 400\">curating a yearly, community showcase\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for other artists, to the Coup’s \u003c/span>\u003ca href=\"https://www.chicagotribune.com/entertainment/movies/ct-mov-boots-riley-0713-story.html\">\u003cspan style=\"font-weight: 400\">Boots Riley becoming a renowned screenwriter\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and director in recent years, there is no shortage of local rappers, DJs, and producers who have made an indelible impact on the region’s culture with their outside ventures. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it’s with food and drinks that Bay Area hip-hop has delivered its best work.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Who else but Larry June is rapping about fresh smoothies while actually owning a \u003ca href=\"https://www.instagram.com/honeybearboba_/?hl=en\">popular boba shop\u003c/a>? From the Team’s \u003c/span>\u003ca href=\"https://www.sfgate.com/column/article/Bay-Area-Hyphy-Juice-Soda-Clyde-Carson-grapple-16480549.php\">\u003cspan style=\"font-weight: 400\">Clyde Carson co-owning Hyphy Juice\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, to the vaunted hustles of Nump, who owns a \u003c/span>\u003ca href=\"https://www.facebook.com/watch/?v=1263174667045544\">\u003cspan style=\"font-weight: 400\">doughnut shop\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (in addition to running \u003c/span>\u003ca href=\"https://eastbayexpress.com/its-easy-filipino-rapper-nump-enters-cannabis-delivery-service/\">\u003cspan style=\"font-weight: 400\">a cannabis delivery service that offers “Lumpia” blunts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), to \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://datebook.sfchronicle.com/music/hip-hop-has-become-an-influencer-in-the-bay-area-restaurant-industry\">Don Toriano\u003c/a>, who created the popular restaurant and \u003ca href=\"https://www.kqed.org/arts/13895209/vegan-mob-oakland-mission-sf-expansion-food-truck-toriano-gordon-senor-sisig-vegano\">food truck Vegan Mob\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">, a diversified food and beverage portfolio is perhaps the most defining contribution to the Bay Area rapper’s playbook, which is designed to be versatile and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=sxXsBTMuZgU\">\u003cspan style=\"font-weight: 400\">“Quarterbackin’.”\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Of course, we have 40 Fonzarelli to thank for that. More than anyone else it’s 40, carrying as many aliases as he does enterprises, who showcases the food game hustle that is interconnected with Bay Area rap culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“40 owned a Fatburger back in the day,” Arnold says. “He told you he was a hustler from day one, back in 1992. He was telling you that.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The fact that he’s still pushing weight and launching new ventures in 2021 shouldn’t shock anyone.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My pops is just super focused because he really enjoys what he does,” says Droop-E. “He’s always cooking for the family, asking us for our honest opinions. It tastes better when someone makes something they care about.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Though \u003c/span>\u003ca href=\"https://www.kqed.org/pop/17076/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing\">\u003cspan style=\"font-weight: 400\">not all of 40’s pursuits have been received glowingly\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, no one can knock his hustle. Earl Stevens’ relentlessness to trailblaze multiple paths at once has provided a roadmap for generations of listeners, who in turn have embraced his freelancing spirit. His efforts have earned him recognition from media outlets that don’t typically seek out rappers for their food expertise, including \u003c/span>\u003ca href=\"https://www.forbes.com/sites/andreabossi/2021/03/24/legendary-rapper-e-40-talks-building-his-spirits-empire-owning-100/?sh=1c64ad2118cb\">\u003ci>\u003cspan style=\"font-weight: 400\">Forbes\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://www.businessinsider.com/e-40-interview-spirits-clubhouse-verzuz-2021-4\">\u003ci>\u003cspan style=\"font-weight: 400\">Business Insider\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://sf.eater.com/2018/2/1/16960322/e-40-tequila-line-e-cuarenta\">\u003cspan style=\"font-weight: 400\">Eater\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Through it all, he’s remained loyal to his soil—and helped to define it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think the Bay, if I was to put a finger on it, knows we’re not New York, LA, Chicago,” Arnold says. “You get used to being an underdog. You get used to taking an extra step because of the lack of media or industry infrastructure.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having that “extra step” is what elevates those who are driven to find and create their own lane, even when it may not seem possible.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although it has become more commonplace (and sometimes necessary) for people to have multiple sources of income here in the Bay, the region’s rappers have been laying the groundwork for this blueprint decades before it was normalized. However you cut the math, these hip-hop legends have been “revenue retrieving” and “currency collecting” the hard way since the early ’80s—back when most mainstream rappers were dependent on major brands and record labels to fuel their image, rather than creating their own. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For 40, the past few decades have been so flavorful that Droop-E told me he and his pops are planning to launch a line of ice cream soon, with up to seven different varieties. Fittingly, the Vallejo rapper’s newest hustle will be as the “\u003ca href=\"https://www.youtube.com/watch?v=OAqUP4Dt5co\">Ice Cream Man\u003c/a>,” a phrase coined back in ’93 by Bay Area counterparts Dru Down and Luniz, who later collaborated with 40 on the “I Got 5 On It” remix. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though his ice cream’s release dates have yet to be announced, Droop-E assures me it’s officially on the way.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like I said, no one serves more flavors than E-40.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Oakland, Plunging Hotel Tax Revenue Threatens to Gut Arts Funding",
"headTitle": "In Oakland, Plunging Hotel Tax Revenue Threatens to Gut Arts Funding | KQED",
"content": "\u003cp>In 2009, Oakland voters passed a ballot measure to increase arts funding as part of the city’s economic recovery from the Great Recession. [aside postID=arts_13878335,arts_13861153,arts_13873207]\u003c/p>\n\u003cp>Measure C raised the city’s hotel tax from 11 percent to 14 percent, with the added revenue supporting Oakland’s Cultural Funding Program, tourism agency Visit Oakland, festivals such as Art + Soul, and organizations including the Oakland Museum of California (OMCA) and Chabot Space and Science Center.\u003c/p>\n\u003cp>In the decade since, annual hotel tax revenue has more than tripled, reaching $33 million in 2019. Last year, roughly a third of the $1.2 million that Oakland granted to artists and small arts nonprofits derived from hotel taxes, and Oakland Museum of California received nearly $1 million from the fund.\u003c/p>\n\u003cp>Still, the benefits have been modest, outstripped by rising housing costs. Oakland arts figures have in recent years agitated elected officials for additional funding with mixed success—securing one time boosts only to see them dropped from subsequent budgets or diverted to other uses. \u003c/p>\n\u003cp>Now, a new economic crisis is erasing the limited gains and threatening to plunge public art support to historic lows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With the current shelter-in-place orders, Bay Area hotel occupancy rates have plummeted to below 20 percent, and in some cities, rates are in the single digits. Oakland’s budget director projects hotel tax revenue falling by $9 million to $18.01 million this fiscal year alone—part of a potential $80 million budget shortfall over the next 14 months.\u003c/p>\n\u003cp>“The size and scale of these revenue shortfalls is like nothing Oakland has ever before experienced,” reads the \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=4420613&GUID=6DAD55FD-A354-4DE0-A6C0-E376CE95DDE2&Options=&Search=\">finance report\u003c/a> received by Oakland City Council on Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13875808\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg\" alt=\"The creation and erasure of a mural catalyzes an anti-gentrification coalition in 'Alice Street.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The creation and erasure of a mural catalyzes an anti-gentrification coalition in ‘Alice Street.’ \u003ccite>(Zoe Mountain/Courtesy of filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Museum of California, the city’s largest cultural organization, has for the past two years relied on hotel tax allocation for approximately $70,000 per month in operations support.\u003c/p>\n\u003cp>“We’re anticipating that goes away completely for the foreseeable future,” Lori Fogarty, director of the museum, said in an interview. “That’s absolutely one of our biggest hits.”\u003c/p>\n\u003cp>The impact follows the cancellation of the museum’s annual gala March 14, which aimed to raise $350,000 (many supporters donated regardless), and comes atop the ongoing losses from ticket sales and programming. OMCA expects to lose $1.5 million through the summer.\u003c/p>\n\u003cp>The museum recently \u003ca href=\"https://www.kqed.org/arts/13878335/oakland-museum-of-california-announces-hours-reductions-affecting-106-workers\">reduced the hours\u003c/a> of 106 full-time employees, a measure meant to avoid layoffs. Only with the help of a federal loan was the museum able to temporarily restore them.\u003c/p>\n\u003cp>Fogarty noted the $2.5 million \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> in San Francisco, saying Oakland arts leaders could better organize to advocate for emergency relief from local government. But municipal budget crises tend to hasten privatization: The last recession spurred OMCA, for decades run by the City of Oakland, to reform as an independent nonprofit in 2011.\u003c/p>\n\u003cp>“There’s some parallels,” she said. “We were facing a decrease in funding then. But this is even more abrupt and far-reaching—I don’t know if there’s been a comparable moment.”\u003c/p>\n\u003cfigure id=\"attachment_13878341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/OMCA-courtesy-OMCA.jpg\" alt=\"Plunging hotel tax revenue threatens an important funding source for the Oakland Museum of California.\" width=\"1920\" height=\"1116\" class=\"size-full wp-image-13878341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-1020x593.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Plunging hotel tax revenue threatens an important funding source for the Oakland Museum of California. \u003ccite>(Courtesy OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roberto Bedoya, Oakland’s cultural affairs manager, said in a statement that the effects of city finances on his department will become clear in the coming months as officials reassess the budget.\u003c/p>\n\u003cp>The Cultural Funding Program (CFP) regularly supports performing arts organizations such as Oakland Ballet, Lower Bottom Playaz and Ubuntu Theater; murals by Community Rejuvenation Project and Attitudinal Healing Connection; and has funded projects by metalworker \u003ca href=\"https://www.kqed.org/arts/13873207/the-hustle-karen-smith-metalsmith-oakland\">Karen Smith\u003c/a>, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities\">Alice Street\u003c/a>\u003c/em> director Spencer Wilkinson and \u003cem>There, There\u003c/em> author Tommy Orange.\u003c/p>\n\u003cp>In 2018 the cultural affairs unit published Oakland’s first \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">Cultural Plan\u003c/a> in decades, detailing proposals to alleviate cost-of-living pressures on local artists and sustain community identity. Recently staff also worked to revive Oakland’s long-dormant \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">Cultural Commission\u003c/a>. But the unit has struggled to win additional funding above and beyond its hotel tax allocation to enact most of its policy goals.\u003c/p>\n\u003cp>Even assuming a continuing uptick in hotel tax revenue, the CFP’s grant-making budget was poised to \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">shrink\u003c/a> this year as a one-time boost from the 2017 budget cycle lapses.\u003c/p>\n\u003cp>And there’s recent precedent for officials raiding arts funds: $100,000 set aside for murals in 2017 disappeared before it could be spent, Bedoya said at a committee hearing earlier this year, due to anticipated revenue shortfalls after council members voted to reduce cannabis taxes.\u003c/p>\n\u003cp>Eric Arnold, Community Rejuvenation Project spokesperson and a longtime observer of Oakland’s equity and culture initiatives, believes the CFP’s few gains since the recession are in serious jeopardy—especially without a grassroots campaign to advocate for the program.\u003c/p>\n\u003cp>“The one-time increases for arts funding that we have seen came directly from community pressure,” Arnold said. “Right now, who’s even organized to make a budget request?”\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg\" alt=\"A panel of the disappearing "Universal Language" mural, showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"1920\" height=\"1155\" class=\"size-full wp-image-13861187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A panel of the disappearing “Universal Language” mural, showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Arts Commission and related entity Grants for the Arts also expect hotel tax funding for cultural programs—significantly boosted by the 2018 passage of \u003ca href=\"https://www.kqed.org/news/11702680/proposition-e-seeks-to-restore-s-f-s-arts-and-culture-funding-clout\">Proposition E\u003c/a>—to dwindle as city finance officials \u003ca href=\"https://www.documentcloud.org/documents/6821861-March-Joint-Report-Memo-ACTIVE.html\">project\u003c/a> staggering losses of up to $288 million this fiscal year.\u003c/p>\n\u003cp>But San Francisco has more diversified revenue sources for its arts support, and Proposition E actually limits the losses to the Hotel Tax for the Arts fund. Hence, allocations to the fund are expected to only decline by $4.6 million to $28.8 million, according to a March 31 finance report.\u003c/p>\n\u003cp>Brent Miller, co-founder of Center for New Music, a San Francisco venue supported by Grants for the Arts, expects the grant-maker’s reserves to delay the effects on small nonprofits. For now, he’s more concerned about missing rental income that normally subsidizes programming.\u003c/p>\n\u003cp>“I’m hearing Grants for the Arts funding next year is kind of set in stone,” said Miller. “We’re really going to see the impact of that the following year, and then I don’t know what we’ll do.”\u003c/p>\n\u003cp>Arts funders at the state level are also shuddering. At a livestreamed California Arts Council meeting on April 1, commissioners debated relief measures, such as loosening grant restrictions to let organizations cover immediate payroll and rent costs with awards meant for specific projects.\u003c/p>\n\u003cp>The council’s grant-making budget has multiplied in recent years, totaling $35 million in 2020. But when talk turned to the council’s financial outlook, commissioners seemed to brace for cuts.\u003c/p>\n\u003cp>Ayanna Kiburi, the council’s deputy director, showed doubts about additional funding for cultural districts included in Governor Gavin Newsom’s budget proposal from this past January. “That probably won’t—we don’t know what’s going to happen,” Kiburi said.\u003c/p>\n\u003cp>The state funder is in turn awaiting federal support. The $2 trillion federal aid package approved last month includes $75 million each for the national endowments for the humanities and the arts, with 40 percent reserved for state partners such as California Arts Council.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But the money remains in limbo. Nashormeh Lindo, a council member based in Oakland, said the “amount, timing and mechanism” of the additional national endowment funding is unknown.\u003c/p>\n\n",
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"excerpt": "A new economic crisis jeopardizes Oakland arts funding’s limited gains of the past decade.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2009, Oakland voters passed a ballot measure to increase arts funding as part of the city’s economic recovery from the Great Recession. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Measure C raised the city’s hotel tax from 11 percent to 14 percent, with the added revenue supporting Oakland’s Cultural Funding Program, tourism agency Visit Oakland, festivals such as Art + Soul, and organizations including the Oakland Museum of California (OMCA) and Chabot Space and Science Center.\u003c/p>\n\u003cp>In the decade since, annual hotel tax revenue has more than tripled, reaching $33 million in 2019. Last year, roughly a third of the $1.2 million that Oakland granted to artists and small arts nonprofits derived from hotel taxes, and Oakland Museum of California received nearly $1 million from the fund.\u003c/p>\n\u003cp>Still, the benefits have been modest, outstripped by rising housing costs. Oakland arts figures have in recent years agitated elected officials for additional funding with mixed success—securing one time boosts only to see them dropped from subsequent budgets or diverted to other uses. \u003c/p>\n\u003cp>Now, a new economic crisis is erasing the limited gains and threatening to plunge public art support to historic lows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With the current shelter-in-place orders, Bay Area hotel occupancy rates have plummeted to below 20 percent, and in some cities, rates are in the single digits. Oakland’s budget director projects hotel tax revenue falling by $9 million to $18.01 million this fiscal year alone—part of a potential $80 million budget shortfall over the next 14 months.\u003c/p>\n\u003cp>“The size and scale of these revenue shortfalls is like nothing Oakland has ever before experienced,” reads the \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=4420613&GUID=6DAD55FD-A354-4DE0-A6C0-E376CE95DDE2&Options=&Search=\">finance report\u003c/a> received by Oakland City Council on Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13875808\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg\" alt=\"The creation and erasure of a mural catalyzes an anti-gentrification coalition in 'Alice Street.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The creation and erasure of a mural catalyzes an anti-gentrification coalition in ‘Alice Street.’ \u003ccite>(Zoe Mountain/Courtesy of filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Museum of California, the city’s largest cultural organization, has for the past two years relied on hotel tax allocation for approximately $70,000 per month in operations support.\u003c/p>\n\u003cp>“We’re anticipating that goes away completely for the foreseeable future,” Lori Fogarty, director of the museum, said in an interview. “That’s absolutely one of our biggest hits.”\u003c/p>\n\u003cp>The impact follows the cancellation of the museum’s annual gala March 14, which aimed to raise $350,000 (many supporters donated regardless), and comes atop the ongoing losses from ticket sales and programming. OMCA expects to lose $1.5 million through the summer.\u003c/p>\n\u003cp>The museum recently \u003ca href=\"https://www.kqed.org/arts/13878335/oakland-museum-of-california-announces-hours-reductions-affecting-106-workers\">reduced the hours\u003c/a> of 106 full-time employees, a measure meant to avoid layoffs. Only with the help of a federal loan was the museum able to temporarily restore them.\u003c/p>\n\u003cp>Fogarty noted the $2.5 million \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> in San Francisco, saying Oakland arts leaders could better organize to advocate for emergency relief from local government. But municipal budget crises tend to hasten privatization: The last recession spurred OMCA, for decades run by the City of Oakland, to reform as an independent nonprofit in 2011.\u003c/p>\n\u003cp>“There’s some parallels,” she said. “We were facing a decrease in funding then. But this is even more abrupt and far-reaching—I don’t know if there’s been a comparable moment.”\u003c/p>\n\u003cfigure id=\"attachment_13878341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/OMCA-courtesy-OMCA.jpg\" alt=\"Plunging hotel tax revenue threatens an important funding source for the Oakland Museum of California.\" width=\"1920\" height=\"1116\" class=\"size-full wp-image-13878341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-1020x593.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Plunging hotel tax revenue threatens an important funding source for the Oakland Museum of California. \u003ccite>(Courtesy OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roberto Bedoya, Oakland’s cultural affairs manager, said in a statement that the effects of city finances on his department will become clear in the coming months as officials reassess the budget.\u003c/p>\n\u003cp>The Cultural Funding Program (CFP) regularly supports performing arts organizations such as Oakland Ballet, Lower Bottom Playaz and Ubuntu Theater; murals by Community Rejuvenation Project and Attitudinal Healing Connection; and has funded projects by metalworker \u003ca href=\"https://www.kqed.org/arts/13873207/the-hustle-karen-smith-metalsmith-oakland\">Karen Smith\u003c/a>, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities\">Alice Street\u003c/a>\u003c/em> director Spencer Wilkinson and \u003cem>There, There\u003c/em> author Tommy Orange.\u003c/p>\n\u003cp>In 2018 the cultural affairs unit published Oakland’s first \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">Cultural Plan\u003c/a> in decades, detailing proposals to alleviate cost-of-living pressures on local artists and sustain community identity. Recently staff also worked to revive Oakland’s long-dormant \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">Cultural Commission\u003c/a>. But the unit has struggled to win additional funding above and beyond its hotel tax allocation to enact most of its policy goals.\u003c/p>\n\u003cp>Even assuming a continuing uptick in hotel tax revenue, the CFP’s grant-making budget was poised to \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">shrink\u003c/a> this year as a one-time boost from the 2017 budget cycle lapses.\u003c/p>\n\u003cp>And there’s recent precedent for officials raiding arts funds: $100,000 set aside for murals in 2017 disappeared before it could be spent, Bedoya said at a committee hearing earlier this year, due to anticipated revenue shortfalls after council members voted to reduce cannabis taxes.\u003c/p>\n\u003cp>Eric Arnold, Community Rejuvenation Project spokesperson and a longtime observer of Oakland’s equity and culture initiatives, believes the CFP’s few gains since the recession are in serious jeopardy—especially without a grassroots campaign to advocate for the program.\u003c/p>\n\u003cp>“The one-time increases for arts funding that we have seen came directly from community pressure,” Arnold said. “Right now, who’s even organized to make a budget request?”\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg\" alt=\"A panel of the disappearing "Universal Language" mural, showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"1920\" height=\"1155\" class=\"size-full wp-image-13861187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A panel of the disappearing “Universal Language” mural, showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Arts Commission and related entity Grants for the Arts also expect hotel tax funding for cultural programs—significantly boosted by the 2018 passage of \u003ca href=\"https://www.kqed.org/news/11702680/proposition-e-seeks-to-restore-s-f-s-arts-and-culture-funding-clout\">Proposition E\u003c/a>—to dwindle as city finance officials \u003ca href=\"https://www.documentcloud.org/documents/6821861-March-Joint-Report-Memo-ACTIVE.html\">project\u003c/a> staggering losses of up to $288 million this fiscal year.\u003c/p>\n\u003cp>But San Francisco has more diversified revenue sources for its arts support, and Proposition E actually limits the losses to the Hotel Tax for the Arts fund. Hence, allocations to the fund are expected to only decline by $4.6 million to $28.8 million, according to a March 31 finance report.\u003c/p>\n\u003cp>Brent Miller, co-founder of Center for New Music, a San Francisco venue supported by Grants for the Arts, expects the grant-maker’s reserves to delay the effects on small nonprofits. For now, he’s more concerned about missing rental income that normally subsidizes programming.\u003c/p>\n\u003cp>“I’m hearing Grants for the Arts funding next year is kind of set in stone,” said Miller. “We’re really going to see the impact of that the following year, and then I don’t know what we’ll do.”\u003c/p>\n\u003cp>Arts funders at the state level are also shuddering. At a livestreamed California Arts Council meeting on April 1, commissioners debated relief measures, such as loosening grant restrictions to let organizations cover immediate payroll and rent costs with awards meant for specific projects.\u003c/p>\n\u003cp>The council’s grant-making budget has multiplied in recent years, totaling $35 million in 2020. But when talk turned to the council’s financial outlook, commissioners seemed to brace for cuts.\u003c/p>\n\u003cp>Ayanna Kiburi, the council’s deputy director, showed doubts about additional funding for cultural districts included in Governor Gavin Newsom’s budget proposal from this past January. “That probably won’t—we don’t know what’s going to happen,” Kiburi said.\u003c/p>\n\u003cp>The state funder is in turn awaiting federal support. The $2 trillion federal aid package approved last month includes $75 million each for the national endowments for the humanities and the arts, with 40 percent reserved for state partners such as California Arts Council.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the money remains in limbo. Nashormeh Lindo, a council member based in Oakland, said the “amount, timing and mechanism” of the additional national endowment funding is unknown.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The City of Oakland has released a 342-page review draft of its Downtown Oakland Specific Plan (DOSP), a policy framework for development, transportation and public space as well as cultural arts in its rapidly changing urban core, and officials are now soliciting public feedback. [aside postID=arts_13861153,arts_13853547,arts_13862998] \u003c/p>\n\u003cp>It largely carries forward cultural stabilization strategies from similarly-aimed task forces and planning documents dating as far back as 2015 that local arts figures support but wish to see funded and implemented more swiftly than in recent years. \u003c/p>\n\u003cp>The \u003ca href=\"https://cao-94612.s3.amazonaws.com/documents/FINAL_DOSP-Public-Review-Draft-Plan_082819_Compressed.pdf\">document\u003c/a>, four years in the making and projected for adoption in 2020, includes a raft of policy proposals to support arts and culture in the area approximately bounded by Lake Merritt, Interstate 980, 27th Street and the Oakland Estuary in a chapter entitled “Culture Keeping.” \u003c/p>\n\u003cp>It’s an area experiencing dramatic development, with thousands of housing units opening or under construction, and intense competition for commercial and office space. Changes to the built environment, along with downtown’s declining black population and an influx of affluent residents, pose challenges to nonprofits, galleries, venues and other cultural resources. \u003c/p>\n\u003cp>Downtown Oakland has 161 arts and culture businesses, institutions and nonprofits, 62 nightlife and entertainment establishments and 184 murals, according to the DOSP. “Unprecedented economic investment … has introduced a new dynamic in the cultural landscape that, left unaddressed, endangers this mosaic,” reads the chapter introduction. \u003c/p>\n\u003cfigure id=\"attachment_13863001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-Street-800x450.jpg\" alt=\"The 13th Street Commons project shows the extraordinary power of Business Improvement District organizations to shape, and police, public space.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13863001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 13th Street Commons project shows the extraordinary power of Business Improvement District organizations to shape, and police, public space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plan proposes formalizing unofficial cultural districts such as Chinatown and the cluster of galleries near the Oakland First Fridays street festival, plus allocating resources to the already-established Black Arts Movement and Business District (BAMBD). These districts would be incorporated into a network of public spaces with culturally-relevant streetscape elements. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the ten intersections listed for potential redesign is 13th Street between Broadway and Franklin Street. There the Downtown Oakland Association, a consortium of area property owners, plans to create a plaza to dissuade loitering, raising concerns about the organization’s swelling power to shape and police public space, as KQED \u003ca href=\"https://www.kqed.org/arts/13862998/to-reduce-loitering-a-plaza-downtown-oakland-landlords-plan-to-annex-a-street\">previously reported\u003c/a>. \u003c/p>\n\u003cp>Also proposed is requiring developers that displace arts and culture businesses to offer replacement space on-site or else offer relocation assistance; supporting land trusts and other collective ownership models to acquire and preserve properties for arts uses (along the lines of \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">Shadetree\u003c/a>); and offering more below-market-rate leases to galleries in city-owned properties similar to its deals with Pro Arts and Betti Ono. \u003c/p>\n\u003cp>The plan lists difficulties for entertainment venues to comply with special-events regulations including prohibitive costs and “racial bias in permitting and enforcement,” a reference to \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\">reports\u003c/a> of Oakland cops’ double standards for hip-hop nightclubs that draw largely black audiences. In March city officials \u003ca href=\"https://www.kqed.org/arts/13853547/new-karibbean-citys-after-hours-permit-revoked-prompting-discrimination-accusation\">revoked\u003c/a> New Karibbean City’s after-hours permit at the urging of Oakland police in what proprietor Richard Ali considered the latest example of discrimination against hip-hop venues. \u003c/p>\n\u003cp>Proposed regulatory fixes for downtown entertainment include a streamlined “one-stop shop” for permitting and revising what critics call selectively-enforced aspects of the municipal code pertaining to events. \u003c/p>\n\u003cp>Acknowledging tensions between nightlife operators and residents, the plan also floats an idea—similar to \u003ca href=\"https://www.kqed.org/arts/10632258/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors\">legislation\u003c/a> San Francisco adopted in 2015—to protect entertainment venues against noise complaints from residents of newly-constructed buildings. For example, Oakland could proactively require developers to disclose the presence of entertainment venues near new apartments to prospective tenants or buyers.\u003c/p>\n\u003cfigure id=\"attachment_13853569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg\" alt=\"New Karibbean City proprietor Richard Ali is among the downtown nightlife operators to accuse Oakland police of discriminating against hip-hop venues that draw largely black audiences.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13853569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali is among the downtown nightlife operators to accuse Oakland police of discriminating against hip-hop venues that draw largely black audiences. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The document incorporates ideas from the Cultural Plan published last year, the special events task force formed after the Dec. 2, 2016 Ghost Ship fire in East Oakland and an artist housing and workspace task force report published in 2015. Local arts figures laud many of the proposals, but worry Oakland lacks the resources and political will to follow through with investment and implementation. \u003c/p>\n\u003cp>Eric Arnold, BAMBD spokesperson and community advisor to the DOSP authors, called the document “aspirational,” noting many of the “Culture Keeping” strategies date back years. “The outcomes listed all sound great, but how do we get there?” He said, “There isn’t the urgency we need.”\u003c/p>\n\u003cp>Some of the DOSP proposals have gained momentum only to stall: The Black Arts Movement and Business District was established in 2016 but just recently received city funding—$75,000 for signage. Stakeholders in the Art + Garage District, as some call the First Fridays gallery cluster, campaigned for formal recognition in 2015, only to have the plan scuttled after area property owners objected, according to supporters. \u003c/p>\n\u003cp>Lonnie Lee, a key Art + Garage District promoter whose Vessel Gallery was \u003ca href=\"https://www.kqed.org/arts/13843911/vessel-gallery-oakland-art-murmur-fixture-to-close-following-lease-termination\">displaced\u003c/a> earlier this year, said she’s baffled that cultural districts are so prominent in the plan after her disheartening experience attempting to form one. “They just want the marketing value,” Lee said. “The districts are nothing without policies—a sign’s not going to keep you.” \u003c/p>\n\u003cp>The DOSP specifically identifies the city-owned Malonga Casquelourd Center for the Arts—a longtime hub for performing arts of the African diaspora, currently housing companies including SambaFunk! and Dimensions Dance Theater—as needing significant upgrades, noting tenants of the facility have complained of deferred maintenance and inadequate staffing since 1999. \u003c/p>\n\u003cp>“Many in the arts community recommended increasing overall funding for arts and culture programs, as well as direct financial assistance to local artists and artists of color,” the plan reads. As \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">KQED previously reported\u003c/a>, the Cultural Affairs Unit has launched new initiatives—embedding artists in city departments, reestablishing an arts commission—under the leadership of Cultural Affairs Manager Roberto Bedoya since 2016, yet earlier this year officials cut its grant-making budget by 17 percent. \u003c/p>\n\u003cfigure id=\"attachment_13840998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-800x514.jpg\" alt=\"Oakland Mayor Libby Schaaf and Cultural Affairs Manager Roberto Bedoya present the city's first-ever Cultural Plan.\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13840998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1200x770.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1920x1232.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Mayor Libby Schaaf and Cultural Affairs Manager Roberto Bedoya present the city’s first-ever Cultural Plan. \u003ccite>(Chloe Veltman / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of these strategies require a huge infusion of support for Cultural Affairs,” Arnold said. “If you don’t increase their funding, projects requiring their input aren’t really going to happen.” \u003c/p>\n\u003cp>One solution, according to the plan, is to increase the Cultural Funding Program’s share of Oakland’s hotel or transient occupancy tax, although this would require a ballot measure. “That’s a big lift,” said Arnold. “You have community support, but you need political will, money to get it on the ballot and a campaign to draw attention—and the hotel industry will fight back.” \u003c/p>\n\u003cp>The DOSP also proposes contributing public funds to another round of real-estate holding nonprofit \u003ca href=\"https://cast-sf.org/\">Community Arts Stabilization Trust\u003c/a>’s “Keeping Space—Oakland,” which launched late 2016 to provide precarious local arts organizations financial and technical assistance; the first round was philanthropically financed. Oakland’s increasingly close partnership with CAST has previously \u003ca href=\"https://openspace.sfmoma.org/2018/06/culture-cash-oaklands-struggle-to-support-the-arts/\">stirred concerns\u003c/a> of Cultural Funding Program responsibilities being outsourced or privatized. \u003c/p>\n\u003cp>The DOSP, developed with input from community advisory and stakeholder groups and public surveys, is still subject to change and requires approval from the Oakland City Council for adoption.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Events for the public to \u003ca href=\"https://www.oaklandca.gov/meetings/related-to/topics/downtown-oakland-specific-plan?range%5Bdate%5D=1567321200000%3A1569913199999\">learn more and provide feedback\u003c/a> on the document are scheduled for Thursday, Sept. 19 at Latham Square Plaza and Sunday, Sept. 29 at the Jack London Farmers Market. The Oakland Chinatown Chamber of Commerce, Jack London Improvement District and Old Oakland Neighbors are also hosting informational events throughout September. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>It largely carries forward cultural stabilization strategies from similarly-aimed task forces and planning documents dating as far back as 2015 that local arts figures support but wish to see funded and implemented more swiftly than in recent years. \u003c/p>\n\u003cp>The \u003ca href=\"https://cao-94612.s3.amazonaws.com/documents/FINAL_DOSP-Public-Review-Draft-Plan_082819_Compressed.pdf\">document\u003c/a>, four years in the making and projected for adoption in 2020, includes a raft of policy proposals to support arts and culture in the area approximately bounded by Lake Merritt, Interstate 980, 27th Street and the Oakland Estuary in a chapter entitled “Culture Keeping.” \u003c/p>\n\u003cp>It’s an area experiencing dramatic development, with thousands of housing units opening or under construction, and intense competition for commercial and office space. Changes to the built environment, along with downtown’s declining black population and an influx of affluent residents, pose challenges to nonprofits, galleries, venues and other cultural resources. \u003c/p>\n\u003cp>Downtown Oakland has 161 arts and culture businesses, institutions and nonprofits, 62 nightlife and entertainment establishments and 184 murals, according to the DOSP. “Unprecedented economic investment … has introduced a new dynamic in the cultural landscape that, left unaddressed, endangers this mosaic,” reads the chapter introduction. \u003c/p>\n\u003cfigure id=\"attachment_13863001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-Street-800x450.jpg\" alt=\"The 13th Street Commons project shows the extraordinary power of Business Improvement District organizations to shape, and police, public space.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13863001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 13th Street Commons project shows the extraordinary power of Business Improvement District organizations to shape, and police, public space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plan proposes formalizing unofficial cultural districts such as Chinatown and the cluster of galleries near the Oakland First Fridays street festival, plus allocating resources to the already-established Black Arts Movement and Business District (BAMBD). These districts would be incorporated into a network of public spaces with culturally-relevant streetscape elements. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among the ten intersections listed for potential redesign is 13th Street between Broadway and Franklin Street. There the Downtown Oakland Association, a consortium of area property owners, plans to create a plaza to dissuade loitering, raising concerns about the organization’s swelling power to shape and police public space, as KQED \u003ca href=\"https://www.kqed.org/arts/13862998/to-reduce-loitering-a-plaza-downtown-oakland-landlords-plan-to-annex-a-street\">previously reported\u003c/a>. \u003c/p>\n\u003cp>Also proposed is requiring developers that displace arts and culture businesses to offer replacement space on-site or else offer relocation assistance; supporting land trusts and other collective ownership models to acquire and preserve properties for arts uses (along the lines of \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">Shadetree\u003c/a>); and offering more below-market-rate leases to galleries in city-owned properties similar to its deals with Pro Arts and Betti Ono. \u003c/p>\n\u003cp>The plan lists difficulties for entertainment venues to comply with special-events regulations including prohibitive costs and “racial bias in permitting and enforcement,” a reference to \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\">reports\u003c/a> of Oakland cops’ double standards for hip-hop nightclubs that draw largely black audiences. In March city officials \u003ca href=\"https://www.kqed.org/arts/13853547/new-karibbean-citys-after-hours-permit-revoked-prompting-discrimination-accusation\">revoked\u003c/a> New Karibbean City’s after-hours permit at the urging of Oakland police in what proprietor Richard Ali considered the latest example of discrimination against hip-hop venues. \u003c/p>\n\u003cp>Proposed regulatory fixes for downtown entertainment include a streamlined “one-stop shop” for permitting and revising what critics call selectively-enforced aspects of the municipal code pertaining to events. \u003c/p>\n\u003cp>Acknowledging tensions between nightlife operators and residents, the plan also floats an idea—similar to \u003ca href=\"https://www.kqed.org/arts/10632258/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors\">legislation\u003c/a> San Francisco adopted in 2015—to protect entertainment venues against noise complaints from residents of newly-constructed buildings. For example, Oakland could proactively require developers to disclose the presence of entertainment venues near new apartments to prospective tenants or buyers.\u003c/p>\n\u003cfigure id=\"attachment_13853569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg\" alt=\"New Karibbean City proprietor Richard Ali is among the downtown nightlife operators to accuse Oakland police of discriminating against hip-hop venues that draw largely black audiences.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13853569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali is among the downtown nightlife operators to accuse Oakland police of discriminating against hip-hop venues that draw largely black audiences. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The document incorporates ideas from the Cultural Plan published last year, the special events task force formed after the Dec. 2, 2016 Ghost Ship fire in East Oakland and an artist housing and workspace task force report published in 2015. Local arts figures laud many of the proposals, but worry Oakland lacks the resources and political will to follow through with investment and implementation. \u003c/p>\n\u003cp>Eric Arnold, BAMBD spokesperson and community advisor to the DOSP authors, called the document “aspirational,” noting many of the “Culture Keeping” strategies date back years. “The outcomes listed all sound great, but how do we get there?” He said, “There isn’t the urgency we need.”\u003c/p>\n\u003cp>Some of the DOSP proposals have gained momentum only to stall: The Black Arts Movement and Business District was established in 2016 but just recently received city funding—$75,000 for signage. Stakeholders in the Art + Garage District, as some call the First Fridays gallery cluster, campaigned for formal recognition in 2015, only to have the plan scuttled after area property owners objected, according to supporters. \u003c/p>\n\u003cp>Lonnie Lee, a key Art + Garage District promoter whose Vessel Gallery was \u003ca href=\"https://www.kqed.org/arts/13843911/vessel-gallery-oakland-art-murmur-fixture-to-close-following-lease-termination\">displaced\u003c/a> earlier this year, said she’s baffled that cultural districts are so prominent in the plan after her disheartening experience attempting to form one. “They just want the marketing value,” Lee said. “The districts are nothing without policies—a sign’s not going to keep you.” \u003c/p>\n\u003cp>The DOSP specifically identifies the city-owned Malonga Casquelourd Center for the Arts—a longtime hub for performing arts of the African diaspora, currently housing companies including SambaFunk! and Dimensions Dance Theater—as needing significant upgrades, noting tenants of the facility have complained of deferred maintenance and inadequate staffing since 1999. \u003c/p>\n\u003cp>“Many in the arts community recommended increasing overall funding for arts and culture programs, as well as direct financial assistance to local artists and artists of color,” the plan reads. As \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">KQED previously reported\u003c/a>, the Cultural Affairs Unit has launched new initiatives—embedding artists in city departments, reestablishing an arts commission—under the leadership of Cultural Affairs Manager Roberto Bedoya since 2016, yet earlier this year officials cut its grant-making budget by 17 percent. \u003c/p>\n\u003cfigure id=\"attachment_13840998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-800x514.jpg\" alt=\"Oakland Mayor Libby Schaaf and Cultural Affairs Manager Roberto Bedoya present the city's first-ever Cultural Plan.\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13840998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1200x770.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1920x1232.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Mayor Libby Schaaf and Cultural Affairs Manager Roberto Bedoya present the city’s first-ever Cultural Plan. \u003ccite>(Chloe Veltman / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of these strategies require a huge infusion of support for Cultural Affairs,” Arnold said. “If you don’t increase their funding, projects requiring their input aren’t really going to happen.” \u003c/p>\n\u003cp>One solution, according to the plan, is to increase the Cultural Funding Program’s share of Oakland’s hotel or transient occupancy tax, although this would require a ballot measure. “That’s a big lift,” said Arnold. “You have community support, but you need political will, money to get it on the ballot and a campaign to draw attention—and the hotel industry will fight back.” \u003c/p>\n\u003cp>The DOSP also proposes contributing public funds to another round of real-estate holding nonprofit \u003ca href=\"https://cast-sf.org/\">Community Arts Stabilization Trust\u003c/a>’s “Keeping Space—Oakland,” which launched late 2016 to provide precarious local arts organizations financial and technical assistance; the first round was philanthropically financed. Oakland’s increasingly close partnership with CAST has previously \u003ca href=\"https://openspace.sfmoma.org/2018/06/culture-cash-oaklands-struggle-to-support-the-arts/\">stirred concerns\u003c/a> of Cultural Funding Program responsibilities being outsourced or privatized. \u003c/p>\n\u003cp>The DOSP, developed with input from community advisory and stakeholder groups and public surveys, is still subject to change and requires approval from the Oakland City Council for adoption.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Events for the public to \u003ca href=\"https://www.oaklandca.gov/meetings/related-to/topics/downtown-oakland-specific-plan?range%5Bdate%5D=1567321200000%3A1569913199999\">learn more and provide feedback\u003c/a> on the document are scheduled for Thursday, Sept. 19 at Latham Square Plaza and Sunday, Sept. 29 at the Jack London Farmers Market. The Oakland Chinatown Chamber of Commerce, Jack London Improvement District and Old Oakland Neighbors are also hosting informational events throughout September. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'It’s Criminal': Cultural Funding Cuts Frustrate Oakland Artists",
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"headTitle": "‘It’s Criminal’: Cultural Funding Cuts Frustrate Oakland Artists | KQED",
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"content": "\u003cp>At 14th and Alice Streets in downtown Oakland, the “Universal Language” mural traces the city’s black performing arts heritage. The late dancer Ruth Beckford, an influential promoter of Afro-Haitian styles, looms above performers with her mentee Deborah Vaughan’s Dimensions Dance Theater, which operates nearby at the \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>. The center’s namesake, Congolese artist and teacher Malonga Casquelourd, beats a drum at the center of another wall.\u003c/p>\n\u003cp>The arts are but one theme of the 2,500 square foot mural, which also references organized labor and grassroots activism in Oakland’s black and Asian neighborhoods. Lead artists Desi Mundo and Pancho Peskador worked with the nonprofit Community Rejuvenation Project to conduct research and community outreach for six months before beginning to paint—an undertaking significantly buoyed a $40,000 grant from the City of Oakland’s Cultural Funding Program.\u003c/p>\n\u003cp>Fewer than five years after its completion in 2014, though, the mural is disappearing behind a housing development on what was previously a parking lot. At the same time, the city program that supported the mural, plus many individual artists and Malonga tenants, recently had its grant-making budget reduced by 17 percent. “It’s criminal,” said Theo Aytchan Williams, director of Malonga tenant \u003ca href=\"https://sambafunk.com/\">SambaFunk\u003c/a>. “How can that happen while the city is beginning to prosper?”\u003c/p>\n\u003cfigure id=\"attachment_13861188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861188\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg\" alt=\""Universal Language," a mural depicting Oakland's black performing arts heritage, will soon be completely obscured.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Universal Language,” a mural depicting Oakland’s black performing arts heritage, will soon be completely obscured. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland artists and activists have long agitated for boosting the Cultural Funding Program’s budget and infrastructure, holding it up as an important front in the fight against displacement. The grant-making operation rates applicants with an equity lens, supporting work that lifts up communities at risk of cultural erasure as the affordability crisis reshapes the city. “The roster of those top-ranked organizations is the backbone of the Oakland arts community,” said Mundo.\u003c/p>\n\u003cp>In 2018, the Cultural Funding Program supported individual artist projects such as murals, performance series and documentaries; art-in-schools programs run by nonprofits including Destiny Arts Center and Women’s Audio Mission; and general operating subsidies for Creative Growth Art Center, Eastside Arts Alliance and the Oakland Ballet, among other institutions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some ways, the program has lately grown: Roberto Bedoya became the first Cultural Affairs Director in 2016, announcing an agenda of redressing historical injustice in the Cultural Plan last year. He also secured funding for a staffer to help reestablish an Art Commission; Oakland City Council approved related legislation Tuesday. And soon Bedoya will announce the first “cultural strategists in government”—artists embedded as “thought partners” in city departments.\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg\" alt=\"Another panel of "Universal Language," showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another panel of “Universal Language,” showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13840996/oakland-introduces-expanded-art-grants-program-announces-2018-awardees\">previously reported\u003c/a>, Oakland Mayor Libby Schaaf has described Bedoya’s initiatives as part of the Cultural Affairs Unit’s rebound from the “devastating cuts of the recession,” but the budget City Council approved last month leaves his agency with more plans and less money: The annual grants budget is approximately 1,030,000, comprised of $730,000 from the general purpose fund and an anticipated $300,000 from hotel tax revenue, compared to $1,243,120 earmarked in 2017.\u003c/p>\n\u003cp>“Organizational support and arts in schools are the cornerstones of the creation of a future for the arts in our beloved city, and given the rapid, dizzying gentrification we’re experiencing it’s fundamental that you remove not one dollar from our cultural funding program,” said Angela Wellman, director of the Oakland Public Conservatory of Music, at the June 24 meeting.\u003c/p>\n\u003cp>The councilmembers included a policy directive in their budget urging city staff to “identify ways to restore and make permanent additional funding for cultural affairs” by May of next year.\u003c/p>\n\u003cp>According to the Cultural Plan, Oakland’s inflation-adjusted grant-making budget is nearly half of what was in 2001, and in recent years the number of applications has dramatically increased. This year, according to Bedoya, there were 25 percent more grant applicants than in 2018. “People are asking for support,” he said. “We’re still hoping the budget will increase along with the need.”\u003c/p>\n\u003cfigure id=\"attachment_13861183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg\" alt=\"The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mundo, head of the Community Rejuvenation Project, believes declining grant dollars reflects the “privatization of public artwork.” In downtown Oakland, there are more murals than ever; housing developers tout them as amenities, and sports teams sponsor them for promotion in the guise of grassroots fandom. Instead of the deeply-researched “Universal Language” mural, Mundo said, public artwork is increasingly advertisements or corporate commissions.\u003c/p>\n\u003cp>Mundo noted the bureaucracy of the Cultural Funding Program is its own frustration: Artists shouldn’t have to also be lobbyists and nonprofit administrators. Still, he called it a reliable supporter of projects with a point of view and rich cultural texture. The CFP’s support of “Universal Language,” for example, offset the cost of a Cantonese translator to interview neighbors, and to study performances to capture dancers’ expressive gestures on the wall.\u003c/p>\n\u003cp>“Universal Language” also depicts artists at a City Council meeting in 2003 to protest then-Mayor Jerry Brown’s attempt to shutter the Malonga Casquelourd Center for the Arts (then the Alice Arts Center)—content that isn’t likely to appear in public artwork sponsored by the city’s tourism bureau, Visit Oakland. “But now we’re moving towards a patronage system,” Mundo said. “Less cultural stories, less of the struggle, more of the commercial and abstract.”\u003c/p>\n\u003cfigure id=\"attachment_13861182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg\" alt=\"A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The budget passed last month does include a $100,000 “community murals” fund, but it mostly continues a preexisting “graffiti abatement” fund by another name. Mundo’s organization tracked the abatement dollars, finding some councilmembers didn’t use them for public artwork at all. “It’s really a slush fund,” he said. “They’re almost appropriating money from cultural funding.”\u003c/p>\n\u003cp>Bedoya acknowledged the new fund is similarly aimed at deterring graffiti, but said his department will more closely oversee councilmembers’ projects. And Councilmember Dan Kalb said at the June 24 meeting that he welcomes the greater involvement from Bedoya’s department. “It’s better government to do this through cultural affairs,” Kalb said.\u003c/p>\n\u003cp>Also new in the city’s budget is $75,000 for signage and “capacity building” in the Black Arts Movement Business District, which Oakland established downtown in 2016. Ayodele Nzinga, founding director of Lower Bottom Playaz, said it’s the first time the city has funded the district at all. “The point is they created a district three years ago without so much as a plan or budget for a banner,” she said, adding that district stakeholders will use the money to seek private grants.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014. ' width=\"300\" height=\"199\" class=\"size-medium wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as the “Universal Language” mural shows what Oakland stands to lose by reducing its investment in the arts, it also illustrates the power of cultural groups united by a common grievance. In 2016, when the project set to block “Universal Language” was first approved, the mural’s creators joined with neighborhood activists and Malonga tenants to appeal the development, citing concerns that it would further destabilize the scrappy cultural center.\u003c/p>\n\u003cp>They won a community benefits agreement—and modeled a negotiating tactic \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently used\u003c/a> by critics of Orton Development’s plan to renovate the Henry J. Kaiser Convention Center—that required the developer to donate money to the Malonga, and also to help pay for a replacement mural nearby. Eric Arnold, who helped negotiate the deal, said the replacement mural will deal with similar themes, and that it will be on the wall of the Greenlining Institute two blocks away.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To Arnold, the way the mural’s removal spurred a powerful coalition of arts and neighborhood groups is a heartening example of frustrated community members taking matters into their own hands. “Whatever you think is against you, developers, city hall—there’s a way to change the narrative,” he said. The new mural, he added, might incorporate the tale of the old one.\u003c/p>\n\n",
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"title": "'It’s Criminal': Cultural Funding Cuts Frustrate Oakland Artists | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 14th and Alice Streets in downtown Oakland, the “Universal Language” mural traces the city’s black performing arts heritage. The late dancer Ruth Beckford, an influential promoter of Afro-Haitian styles, looms above performers with her mentee Deborah Vaughan’s Dimensions Dance Theater, which operates nearby at the \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>. The center’s namesake, Congolese artist and teacher Malonga Casquelourd, beats a drum at the center of another wall.\u003c/p>\n\u003cp>The arts are but one theme of the 2,500 square foot mural, which also references organized labor and grassroots activism in Oakland’s black and Asian neighborhoods. Lead artists Desi Mundo and Pancho Peskador worked with the nonprofit Community Rejuvenation Project to conduct research and community outreach for six months before beginning to paint—an undertaking significantly buoyed a $40,000 grant from the City of Oakland’s Cultural Funding Program.\u003c/p>\n\u003cp>Fewer than five years after its completion in 2014, though, the mural is disappearing behind a housing development on what was previously a parking lot. At the same time, the city program that supported the mural, plus many individual artists and Malonga tenants, recently had its grant-making budget reduced by 17 percent. “It’s criminal,” said Theo Aytchan Williams, director of Malonga tenant \u003ca href=\"https://sambafunk.com/\">SambaFunk\u003c/a>. “How can that happen while the city is beginning to prosper?”\u003c/p>\n\u003cfigure id=\"attachment_13861188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861188\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg\" alt=\""Universal Language," a mural depicting Oakland's black performing arts heritage, will soon be completely obscured.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Universal Language,” a mural depicting Oakland’s black performing arts heritage, will soon be completely obscured. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland artists and activists have long agitated for boosting the Cultural Funding Program’s budget and infrastructure, holding it up as an important front in the fight against displacement. The grant-making operation rates applicants with an equity lens, supporting work that lifts up communities at risk of cultural erasure as the affordability crisis reshapes the city. “The roster of those top-ranked organizations is the backbone of the Oakland arts community,” said Mundo.\u003c/p>\n\u003cp>In 2018, the Cultural Funding Program supported individual artist projects such as murals, performance series and documentaries; art-in-schools programs run by nonprofits including Destiny Arts Center and Women’s Audio Mission; and general operating subsidies for Creative Growth Art Center, Eastside Arts Alliance and the Oakland Ballet, among other institutions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some ways, the program has lately grown: Roberto Bedoya became the first Cultural Affairs Director in 2016, announcing an agenda of redressing historical injustice in the Cultural Plan last year. He also secured funding for a staffer to help reestablish an Art Commission; Oakland City Council approved related legislation Tuesday. And soon Bedoya will announce the first “cultural strategists in government”—artists embedded as “thought partners” in city departments.\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg\" alt=\"Another panel of "Universal Language," showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another panel of “Universal Language,” showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13840996/oakland-introduces-expanded-art-grants-program-announces-2018-awardees\">previously reported\u003c/a>, Oakland Mayor Libby Schaaf has described Bedoya’s initiatives as part of the Cultural Affairs Unit’s rebound from the “devastating cuts of the recession,” but the budget City Council approved last month leaves his agency with more plans and less money: The annual grants budget is approximately 1,030,000, comprised of $730,000 from the general purpose fund and an anticipated $300,000 from hotel tax revenue, compared to $1,243,120 earmarked in 2017.\u003c/p>\n\u003cp>“Organizational support and arts in schools are the cornerstones of the creation of a future for the arts in our beloved city, and given the rapid, dizzying gentrification we’re experiencing it’s fundamental that you remove not one dollar from our cultural funding program,” said Angela Wellman, director of the Oakland Public Conservatory of Music, at the June 24 meeting.\u003c/p>\n\u003cp>The councilmembers included a policy directive in their budget urging city staff to “identify ways to restore and make permanent additional funding for cultural affairs” by May of next year.\u003c/p>\n\u003cp>According to the Cultural Plan, Oakland’s inflation-adjusted grant-making budget is nearly half of what was in 2001, and in recent years the number of applications has dramatically increased. This year, according to Bedoya, there were 25 percent more grant applicants than in 2018. “People are asking for support,” he said. “We’re still hoping the budget will increase along with the need.”\u003c/p>\n\u003cfigure id=\"attachment_13861183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg\" alt=\"The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mundo, head of the Community Rejuvenation Project, believes declining grant dollars reflects the “privatization of public artwork.” In downtown Oakland, there are more murals than ever; housing developers tout them as amenities, and sports teams sponsor them for promotion in the guise of grassroots fandom. Instead of the deeply-researched “Universal Language” mural, Mundo said, public artwork is increasingly advertisements or corporate commissions.\u003c/p>\n\u003cp>Mundo noted the bureaucracy of the Cultural Funding Program is its own frustration: Artists shouldn’t have to also be lobbyists and nonprofit administrators. Still, he called it a reliable supporter of projects with a point of view and rich cultural texture. The CFP’s support of “Universal Language,” for example, offset the cost of a Cantonese translator to interview neighbors, and to study performances to capture dancers’ expressive gestures on the wall.\u003c/p>\n\u003cp>“Universal Language” also depicts artists at a City Council meeting in 2003 to protest then-Mayor Jerry Brown’s attempt to shutter the Malonga Casquelourd Center for the Arts (then the Alice Arts Center)—content that isn’t likely to appear in public artwork sponsored by the city’s tourism bureau, Visit Oakland. “But now we’re moving towards a patronage system,” Mundo said. “Less cultural stories, less of the struggle, more of the commercial and abstract.”\u003c/p>\n\u003cfigure id=\"attachment_13861182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg\" alt=\"A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The budget passed last month does include a $100,000 “community murals” fund, but it mostly continues a preexisting “graffiti abatement” fund by another name. Mundo’s organization tracked the abatement dollars, finding some councilmembers didn’t use them for public artwork at all. “It’s really a slush fund,” he said. “They’re almost appropriating money from cultural funding.”\u003c/p>\n\u003cp>Bedoya acknowledged the new fund is similarly aimed at deterring graffiti, but said his department will more closely oversee councilmembers’ projects. And Councilmember Dan Kalb said at the June 24 meeting that he welcomes the greater involvement from Bedoya’s department. “It’s better government to do this through cultural affairs,” Kalb said.\u003c/p>\n\u003cp>Also new in the city’s budget is $75,000 for signage and “capacity building” in the Black Arts Movement Business District, which Oakland established downtown in 2016. Ayodele Nzinga, founding director of Lower Bottom Playaz, said it’s the first time the city has funded the district at all. “The point is they created a district three years ago without so much as a plan or budget for a banner,” she said, adding that district stakeholders will use the money to seek private grants.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014. ' width=\"300\" height=\"199\" class=\"size-medium wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as the “Universal Language” mural shows what Oakland stands to lose by reducing its investment in the arts, it also illustrates the power of cultural groups united by a common grievance. In 2016, when the project set to block “Universal Language” was first approved, the mural’s creators joined with neighborhood activists and Malonga tenants to appeal the development, citing concerns that it would further destabilize the scrappy cultural center.\u003c/p>\n\u003cp>They won a community benefits agreement—and modeled a negotiating tactic \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently used\u003c/a> by critics of Orton Development’s plan to renovate the Henry J. Kaiser Convention Center—that required the developer to donate money to the Malonga, and also to help pay for a replacement mural nearby. Eric Arnold, who helped negotiate the deal, said the replacement mural will deal with similar themes, and that it will be on the wall of the Greenlining Institute two blocks away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To Arnold, the way the mural’s removal spurred a powerful coalition of arts and neighborhood groups is a heartening example of frustrated community members taking matters into their own hands. “Whatever you think is against you, developers, city hall—there’s a way to change the narrative,” he said. The new mural, he added, might incorporate the tale of the old one.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Updated Thursday, 12:30 p.m.\u003c/em>\u003c/p>\n\u003cp>Well past midnight in Oakland City Hall, the revival of a long-dormant landmark came one step closer to reality.\u003c/p>\n\u003cp>In the 11th hour of a meeting that started Tuesday afternoon, Oakland City Council cleared the way for Orton Development to renovate and run the Henry J. Kaiser Convention Center as a vast complex of office and performance space after the developer agreed to a raft of subsidies and benefits for nonprofit and arts groups.\u003c/p>\n\u003cp>A coalition of arts and neighborhood groups had formally appealed the project on the grounds that it lacked sufficient commitments to affordability and accessibility. On Tuesday night, though, the coalition withdrew its challenge after striking an agreement providing what spokesperson Eric Arnold called “permanent affordability” for organizations struggling to remain in Oakland. [aside postID=arts_13859506,arts_13852472]\u003c/p>\n\u003cp>“Our arts and culture scene is under the imminent threat of displacement,” Arnold said. “This agreement doesn’t reverse the tide, but it does offer some mitigation for the foreseeable future.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 215,000-square-foot building, which Orton intends to rechristen the “Oakland Civic,” was completed in 1914 and for the rest of the 20th century provided an important gathering space beside Lake Merritt. But it’s been empty since 2006, a conspicuous monument to disinvestment. \u003c/p>\n\u003cp>Now, four years after Orton first won redevelopment rights, the $64.5 million project is expected to break ground early 2020. Oakland is contributing $3.1 million in grants and as much as $20 million in New Markets Tax Credits, a federal program for spurring investment in poor areas. \u003c/p>\n\u003cp>“We have found our conversations with the coalition very fruitful,” said Orton project manager David Dial. “We look forward to partnering with them as we develop a cultural equity framework for access and find ways to provide additional community benefits through the life of the project.”\u003c/p>\n\u003cp>Orton plans to convert the Kaiser’s cavernous arena into offices, restore the Calvin Simmons Theater as a 1,500-seat performance venue, and provide smaller ballrooms for flexible uses. Part of the idea is to centralize administration, rehearsal and performance for arts outfits including the Oakland Symphony and Oakland Ballet, which currently lack consistent facilities.\u003c/p>\n\u003cp>Graham Lustig, artistic director of the Oakland Ballet, said at the meeting that he’s excited by the potential for collaboration between tenants of the building, which years ago housed the ballet and symphony. He also said the ballet’s rent has increased sixfold in the past four years. \u003c/p>\n\u003cp>The community-benefits agreement, which Councilmember Nikki Fortunato-Bas attached to Orton’s lease, includes subsidies for struggling organizations, particularly in the nearby Chinatown, Eastlake and downtown neighborhoods; various onetime and ongoing payments; and a community oversight structure that empowers members of the appellant coalition. \u003c/p>\n\u003cfigure id=\"attachment_13852543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg\" alt=\"A rendering of Orton Development's proposed north facade of the rechristened "Oakland Civic."\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13852543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1.jpg 1182w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Orton Development’s proposed north facade of the rechristened “Oakland Civic.” \u003ccite>(Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bas, who mediated the appellant coalition’s intense negotiations with Orton in recent weeks, called the deal equitable, accessible and inclusive in a statement. “The Oakland-based artists and people of color living around the project should not have to be afraid of this development, on public land, perpetuating the record rates of displacement happening in Oakland,” she said. \u003c/p>\n\u003cp>Orton must offer up to 10,000 square feet of office space at between $2.00-$2.80 per square foot to what the agreement calls “equity targets,” broadly meaning small area nonprofits, as well as theater and ballroom usage to the qualifying organizations at the “lowest published” rates. Orton will also maintain an $80,000 endowment, replenished annually with operating revenue, to further offset those groups’ production costs incurred by programming. \u003c/p>\n\u003cp>Because these terms are for the duration of a lease of up to 99 years, Arnold described the agreement as a form of commercial rent control that reflects cultural stabilization strategies recommended by Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force. \u003c/p>\n\u003cfigure id=\"attachment_13859575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg\" alt=\"Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13859575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To ensure community access to the programmatic space, the agreement also establishes an elaborate oversight structure: Orton will create a nonprofit to manage the Calvin Simmons Theater and administer the endowment in collaboration with a community advisory board. The coalition will create a separate entity, Friends of the Calvin Simmons Theatre, to develop a community access program for educational institutions and recommend on-site artwork. \u003c/p>\n\u003cp>Orton is also required to give $100,000 to Friends of the Calvin Simmons Theatre and $75,000 to the coalition’s anti-displacement fund, which is administered by the East Bay Community Fund. The coalition will soon announce a grant application process for the anti-displacement fund, which was created to mitigate gentrification pressures on local businesses. \u003c/p>\n\u003cfigure id=\"attachment_13859580\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg\" alt='A city-sanctioned \"Tuff Shed\" homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland.' width=\"800\" height=\"479\" class=\"size-medium wp-image-13859580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1020x611.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1200x719.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A city-sanctioned “Tuff Shed” homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Community Coalition for Equitable Development includes neighborhood stakeholders such as the Black Arts Movement and Business District, Eastside Arts Alliance, Eastlake United for Justice, Asian Pacific Environmental Network and the Malonga Arts Residents Association. \u003c/p>\n\u003cp>Orton is also required by the agreement to make a donation to the Sogorea Te’ Land Trust, which works to return Chochenyo and Karkin Ohlone land to indigenous stewardship, and acknowledge the location of the building on Ohlone land through a plaque or announcement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13859506/no-public-benefit-arts-groups-challenge-kaiser-auditorium-redevelopment-plan\">previously reported\u003c/a>, the project has attracted criticism for the underlying public-private partnership model, which outsources a civic treasure to a for-profit entity, and from people who’d rather see the arena space restored for performances or more public-facing uses. The offices will serve hundreds of people in a space that for decades served thousands.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Thursday, 12:30 p.m.\u003c/em>\u003c/p>\n\u003cp>Well past midnight in Oakland City Hall, the revival of a long-dormant landmark came one step closer to reality.\u003c/p>\n\u003cp>In the 11th hour of a meeting that started Tuesday afternoon, Oakland City Council cleared the way for Orton Development to renovate and run the Henry J. Kaiser Convention Center as a vast complex of office and performance space after the developer agreed to a raft of subsidies and benefits for nonprofit and arts groups.\u003c/p>\n\u003cp>A coalition of arts and neighborhood groups had formally appealed the project on the grounds that it lacked sufficient commitments to affordability and accessibility. On Tuesday night, though, the coalition withdrew its challenge after striking an agreement providing what spokesperson Eric Arnold called “permanent affordability” for organizations struggling to remain in Oakland. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our arts and culture scene is under the imminent threat of displacement,” Arnold said. “This agreement doesn’t reverse the tide, but it does offer some mitigation for the foreseeable future.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 215,000-square-foot building, which Orton intends to rechristen the “Oakland Civic,” was completed in 1914 and for the rest of the 20th century provided an important gathering space beside Lake Merritt. But it’s been empty since 2006, a conspicuous monument to disinvestment. \u003c/p>\n\u003cp>Now, four years after Orton first won redevelopment rights, the $64.5 million project is expected to break ground early 2020. Oakland is contributing $3.1 million in grants and as much as $20 million in New Markets Tax Credits, a federal program for spurring investment in poor areas. \u003c/p>\n\u003cp>“We have found our conversations with the coalition very fruitful,” said Orton project manager David Dial. “We look forward to partnering with them as we develop a cultural equity framework for access and find ways to provide additional community benefits through the life of the project.”\u003c/p>\n\u003cp>Orton plans to convert the Kaiser’s cavernous arena into offices, restore the Calvin Simmons Theater as a 1,500-seat performance venue, and provide smaller ballrooms for flexible uses. Part of the idea is to centralize administration, rehearsal and performance for arts outfits including the Oakland Symphony and Oakland Ballet, which currently lack consistent facilities.\u003c/p>\n\u003cp>Graham Lustig, artistic director of the Oakland Ballet, said at the meeting that he’s excited by the potential for collaboration between tenants of the building, which years ago housed the ballet and symphony. He also said the ballet’s rent has increased sixfold in the past four years. \u003c/p>\n\u003cp>The community-benefits agreement, which Councilmember Nikki Fortunato-Bas attached to Orton’s lease, includes subsidies for struggling organizations, particularly in the nearby Chinatown, Eastlake and downtown neighborhoods; various onetime and ongoing payments; and a community oversight structure that empowers members of the appellant coalition. \u003c/p>\n\u003cfigure id=\"attachment_13852543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg\" alt=\"A rendering of Orton Development's proposed north facade of the rechristened "Oakland Civic."\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13852543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1.jpg 1182w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Orton Development’s proposed north facade of the rechristened “Oakland Civic.” \u003ccite>(Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bas, who mediated the appellant coalition’s intense negotiations with Orton in recent weeks, called the deal equitable, accessible and inclusive in a statement. “The Oakland-based artists and people of color living around the project should not have to be afraid of this development, on public land, perpetuating the record rates of displacement happening in Oakland,” she said. \u003c/p>\n\u003cp>Orton must offer up to 10,000 square feet of office space at between $2.00-$2.80 per square foot to what the agreement calls “equity targets,” broadly meaning small area nonprofits, as well as theater and ballroom usage to the qualifying organizations at the “lowest published” rates. Orton will also maintain an $80,000 endowment, replenished annually with operating revenue, to further offset those groups’ production costs incurred by programming. \u003c/p>\n\u003cp>Because these terms are for the duration of a lease of up to 99 years, Arnold described the agreement as a form of commercial rent control that reflects cultural stabilization strategies recommended by Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force. \u003c/p>\n\u003cfigure id=\"attachment_13859575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg\" alt=\"Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13859575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To ensure community access to the programmatic space, the agreement also establishes an elaborate oversight structure: Orton will create a nonprofit to manage the Calvin Simmons Theater and administer the endowment in collaboration with a community advisory board. The coalition will create a separate entity, Friends of the Calvin Simmons Theatre, to develop a community access program for educational institutions and recommend on-site artwork. \u003c/p>\n\u003cp>Orton is also required to give $100,000 to Friends of the Calvin Simmons Theatre and $75,000 to the coalition’s anti-displacement fund, which is administered by the East Bay Community Fund. The coalition will soon announce a grant application process for the anti-displacement fund, which was created to mitigate gentrification pressures on local businesses. \u003c/p>\n\u003cfigure id=\"attachment_13859580\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg\" alt='A city-sanctioned \"Tuff Shed\" homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland.' width=\"800\" height=\"479\" class=\"size-medium wp-image-13859580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1020x611.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1200x719.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A city-sanctioned “Tuff Shed” homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Community Coalition for Equitable Development includes neighborhood stakeholders such as the Black Arts Movement and Business District, Eastside Arts Alliance, Eastlake United for Justice, Asian Pacific Environmental Network and the Malonga Arts Residents Association. \u003c/p>\n\u003cp>Orton is also required by the agreement to make a donation to the Sogorea Te’ Land Trust, which works to return Chochenyo and Karkin Ohlone land to indigenous stewardship, and acknowledge the location of the building on Ohlone land through a plaque or announcement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13859506/no-public-benefit-arts-groups-challenge-kaiser-auditorium-redevelopment-plan\">previously reported\u003c/a>, the project has attracted criticism for the underlying public-private partnership model, which outsources a civic treasure to a for-profit entity, and from people who’d rather see the arena space restored for performances or more public-facing uses. The offices will serve hundreds of people in a space that for decades served thousands.\u003c/p>\n\n\u003c/div>\u003c/p>",
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