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"content": "\u003cp>On Sunday, Feb. 11, a group gathered at the site of People’s Park in Berkeley to paint a collaborative mural were derailed by sudden police intervention.\u003c/p>\n\u003cp>The mural — created in chalk, and made to be washed away — was designed by longtime muralist and organizer \u003ca href=\"https://www.instagram.com/davidsolnit/?hl=en\">David Solnit\u003c/a>, who was onsite Sunday directing a crew of helpers and community advocates.\u003c/p>\n\u003cp>Solnit’s design draws on Berkeley history, with references to the city’s “nuclear free” legacy and a depiction of a hand pushing back against imposed changes. A line from Berkeley’s well-known street poet Julia Vinograd reads: “There are many hearts buried in People’s Park, and part of my own as well.”\u003c/p>\n\u003cfigure id=\"attachment_13952200\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952200\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A mural painted along Bowditch Street on the east side of People’s Park in Berkeley on Feb. 13, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The peaceful action was first announced on \u003ca href=\"https://www.peoplespark.org/wp/\">PeoplesPark.org\u003c/a>, and drew a crowd of about 80 before the arrival of police.\u003c/p>\n\u003cp>In attendance was Lisa Teague, a formerly unhoused community member who has lived in the neighborhood since 2011, and who observed Sunday as young children, high schoolers, Cal students and adults contributed to the mural.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Public art serves such a multiplicity of purposes,” Teague tells KQED. “It’s a visual reminder that the university was over-the-top in its response to People’s Park over the years. It alleviates the wall of metal that is right there as well. It was wonderful to see everyone working together.”\u003c/p>\n\u003cfigure id=\"attachment_13952198\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People pass by mural painted along Bowditch Street on the east side of People’s Park and large shipping containers blocking public access to the area in Berkeley on Feb. 13, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After shutting down Bowditch Street, the group spent their time painting and taking drone footage of the completed work and the artists involved. At some point, a security guard called for campus police to arrive, claiming he was being surrounded. That’s when the mood shifted.\u003c/p>\n\u003cp>“The police came screaming down the street from campus,” Teague explains. “I’m sure they knew. The event was advertised with flyers; I know they look at our Instagram. They’re probably just waiting for something to happen, like, ‘Oh my God, today’s the day, we’re the guys.’”\u003c/p>\n\u003cp>San Francisco Public Press reporter \u003ca href=\"https://www.sfpublicpress.org/author/yesica-prado/\">Yesica Prado\u003c/a> posted footage from the site throughout the day. One clip shows a woman explaining to a police officer that she was almost hit by his incoming cruiser, to which he responds, “It doesn’t change my opinion about the way I responded.”\u003c/p>\n\u003cp>https://twitter.com/Prado_Reports/status/1756861878909947999\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The struggle between UC officials and local residents over People’s Park has intensified in recent months. In January, UC Berkeley erected a 17-ft. tall blockade of shipping containers around the perimeter of the park that, in the opinion of residents like Teague, is inconvenient and against the city’s municipal code.\u003c/p>\n\u003cp>“It’s so post-apocalyptic,” Teague says. “The razor wire is icing on the cake. It’s not easily visible from the street, [but it’s] against the Berkeley municipal code, and has not been taken down from in front of the apartment building on the west end of the park.”\u003c/p>\n\u003cfigure id=\"attachment_13952199\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People pass by mural painted along Bowditch Street on the east side of People’s Park in Berkeley on Feb. 13, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For now, the mural will remain as a symbol of resistance until it naturally washes off. For Teague, and others involved, making it was an expression of connectivity that extends far beyond Bowditch Street.\u003c/p>\n\u003cp>“It was just very nice to have the park’s landmarks [painted in the mural] and not on a plaque that the UC put up because they want to have a memorial for the park,” Teague says. “The killers want to plan a memorial, you know?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Police broke up a group of about 80 volunteers creating a community mural at People's Park on Sunday.",
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"title": "A New Mural at People's Park Ends In Police Intervention | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sunday, Feb. 11, a group gathered at the site of People’s Park in Berkeley to paint a collaborative mural were derailed by sudden police intervention.\u003c/p>\n\u003cp>The mural — created in chalk, and made to be washed away — was designed by longtime muralist and organizer \u003ca href=\"https://www.instagram.com/davidsolnit/?hl=en\">David Solnit\u003c/a>, who was onsite Sunday directing a crew of helpers and community advocates.\u003c/p>\n\u003cp>Solnit’s design draws on Berkeley history, with references to the city’s “nuclear free” legacy and a depiction of a hand pushing back against imposed changes. A line from Berkeley’s well-known street poet Julia Vinograd reads: “There are many hearts buried in People’s Park, and part of my own as well.”\u003c/p>\n\u003cfigure id=\"attachment_13952200\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952200\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A mural painted along Bowditch Street on the east side of People’s Park in Berkeley on Feb. 13, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The peaceful action was first announced on \u003ca href=\"https://www.peoplespark.org/wp/\">PeoplesPark.org\u003c/a>, and drew a crowd of about 80 before the arrival of police.\u003c/p>\n\u003cp>In attendance was Lisa Teague, a formerly unhoused community member who has lived in the neighborhood since 2011, and who observed Sunday as young children, high schoolers, Cal students and adults contributed to the mural.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Public art serves such a multiplicity of purposes,” Teague tells KQED. “It’s a visual reminder that the university was over-the-top in its response to People’s Park over the years. It alleviates the wall of metal that is right there as well. It was wonderful to see everyone working together.”\u003c/p>\n\u003cfigure id=\"attachment_13952198\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People pass by mural painted along Bowditch Street on the east side of People’s Park and large shipping containers blocking public access to the area in Berkeley on Feb. 13, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After shutting down Bowditch Street, the group spent their time painting and taking drone footage of the completed work and the artists involved. At some point, a security guard called for campus police to arrive, claiming he was being surrounded. That’s when the mood shifted.\u003c/p>\n\u003cp>“The police came screaming down the street from campus,” Teague explains. “I’m sure they knew. The event was advertised with flyers; I know they look at our Instagram. They’re probably just waiting for something to happen, like, ‘Oh my God, today’s the day, we’re the guys.’”\u003c/p>\n\u003cp>San Francisco Public Press reporter \u003ca href=\"https://www.sfpublicpress.org/author/yesica-prado/\">Yesica Prado\u003c/a> posted footage from the site throughout the day. One clip shows a woman explaining to a police officer that she was almost hit by his incoming cruiser, to which he responds, “It doesn’t change my opinion about the way I responded.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cp>The struggle between UC officials and local residents over People’s Park has intensified in recent months. In January, UC Berkeley erected a 17-ft. tall blockade of shipping containers around the perimeter of the park that, in the opinion of residents like Teague, is inconvenient and against the city’s municipal code.\u003c/p>\n\u003cp>“It’s so post-apocalyptic,” Teague says. “The razor wire is icing on the cake. It’s not easily visible from the street, [but it’s] against the Berkeley municipal code, and has not been taken down from in front of the apartment building on the west end of the park.”\u003c/p>\n\u003cfigure id=\"attachment_13952199\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People pass by mural painted along Bowditch Street on the east side of People’s Park in Berkeley on Feb. 13, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For now, the mural will remain as a symbol of resistance until it naturally washes off. For Teague, and others involved, making it was an expression of connectivity that extends far beyond Bowditch Street.\u003c/p>\n\u003cp>“It was just very nice to have the park’s landmarks [painted in the mural] and not on a plaque that the UC put up because they want to have a memorial for the park,” Teague says. “The killers want to plan a memorial, you know?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Let ’Em Know: Oakland’s New Souls of Mischief Mural",
"headTitle": "Let ’Em Know: Oakland’s New Souls of Mischief Mural | KQED",
"content": "\u003cp>If you’ve been near lower High Street in Oakland over the past few weeks, you may have noticed something beautiful taking shape: a large, colorful mural featuring Oakland’s Souls of Mischief. \u003c/p>\n\u003cp>The mural, which covers the building for High Street Studios, spans parts of two city blocks and features portraits of all four members of the East Oakland hip-hop group. On the High Street side, Opio appears in a setting dotted with sunstars, flowers, and birds against a multi-hued sky. Next to him, Tajai gazes out at viewers amidst a backdrop of urban buildings, geometrical shapes, and the Hiero sigil imposed over a sunset cityscape\u003c/p>\n\u003cp>[aside postID='arts_13934324']On the Watting Street side, Phesto Dee taps the side of his head with one hand while the other points outward, his figure partially obscuring what looks like an African mask with a speaker cone for an eye. Nearby is A-Plus, arms outstretched in a welcoming gesture in front of flowers and abstract disks. The combination of these images suggests a spiritual aspect of hip-hop you never knew existed.\u003c/p>\n\u003cp>The vibrant painting, created by artists based out of High Street Studios, is nestled in a working-class, industrial part of the Fruitvale District. It’s a neighborhood whose environmental landscape has historically been defined by nondescript buildings: auto parts stores, an OUSD facility and a lumber company coexist with numerous warehouses and live-work spaces.\u003c/p>\n\u003cfigure id=\"attachment_13934665\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00005.jpg\" alt=\"A portion of the Souls of Mischief mural at High Street and Watting in East Oakland.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A portion of the Souls of Mischief mural at High Street and Watting in East Oakland. \u003ccite>(David Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, the mural nods to a lesser-known element of the neighborhood’s history. Quiet as it’s kept, lower High Street has long been home to a vibrant artist community working out of those warehouses, and the area has made notable contributions to local hip-hop. In the mid-’90s, the warehouse at 4001 San Leandro was occupied by the Mystik Journeymen during a formative time in their development. The DIY hip-hop duo became known for throwing “Top Ramen” parties at the spot, where the cover charge was $5 or a package of the starchy instant noodle soup. When the crew expanded to become the Living Legends in 1996, emcees Eligh, the Grouch and Murs all moved into the space, where they lived in makeshift partitioned “rooms” and recorded some of their earliest works as a collective. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Faultline is among the currently active artist spaces in the area; others include the embattled Vulcan Lofts (whose residents have been fighting to maintain rent control and prevent displacement of 200 artists since 2019) and Oscillation Studios.\u003c/p>\n\u003cp>[aside postID='arts_13933590']David Burke, co-lead artist for the Souls of Mischief mural, is headquartered at High Street Studios, along with co-lead artist Pancho Peskador. The two are public art veterans; Burke served as art director for Art Esteem’s Oakland Superheroes Mural Project, while Peskador was co-lead artist on the Alice Street mural that became the subject of an award-winning documentary film. The story behind their most recent mural is one of compassion, sacrifice, love — and third eye vision.\u003c/p>\n\u003cp>Burke and Peskador worked on the project with a third co-lead artist, Joevic Yeban, as well as assistant artists Veronica Aguilar and Pablo Ruiz, and photographer Steve Babuliak. The mural is the third in a series of “Love Letter to Oakland”-themed murals; the other two are located in Jack London Square and Temescal. Burke says additional entries in the series are continually under consideration, “but we want them to be neighborhood-specific.”\u003c/p>\n\u003cfigure id=\"attachment_13934661\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_4.jpg\" alt=\"Phesto Dee of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland.\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phesto Dee of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 30th anniversary of the Souls’ debut album \u003cem>93 Til Infinity\u003c/em> served as a catalyst for the mural, says Burke. “I thought, man, that would be a great thing to celebrate them in conjunction with this anniversary tour,” he says. In the first half of this year, Burke’s team met with the Souls and brought them into the studio for reference photos. “And then,” Burke says, “we had to find a site.”\u003c/p>\n\u003cp>They wanted a large-scale wall to maximize visual impact, and a spot in East Oakland, where the Souls are from. “That was really important to us, because their headquarters is right around the corner from where we eventually painted the mural,” says Burke.\u003c/p>\n\u003cp>[aside postID='arts_13932471']After exploring various options, the best one turned out to be their home base. High Street Studios’ landlord gave them permission to paint the studio’s building, and also granted them a rent reduction for the service — which was critical, because other funding sources dried up. The muralists ended up doing their latest love letter as an actual act of love. \u003c/p>\n\u003cp>“It’s not like we’re trying to always do this under budget or for free or anything like that,” Burke says, adding that artists sometimes have to find a balance between commercially lucrative and artistically satisfying projects. This was the latter.\u003c/p>\n\u003cfigure id=\"attachment_13934667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_1.jpg\" alt=\"\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A-Plus, David Burke, Opio, Joevic Yeban, Tajai, Pancho Peskador and Phesto Dee pose in front of the Souls of Mischief mural at High and Watting Streets in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work began in July; the entire painting process took about five weeks. Throughout, the muralists’ spirits were uplifted, Peskador says, by “the constant support and excitement of the neighborhood people” from all walks of life: OUSD employees, the unhoused, everyday residents and families.\u003c/p>\n\u003cp>The original sketch left room for creative inspiration. “In this mural we were jazz players,” says Peskador. “It has a structure. But also we were able to improvise on top of that structure.”\u003c/p>\n\u003cp>“We wanted to give each one of the band members their own space to operate. And each one of those portraits has their own environment,” adds Burke.\u003c/p>\n\u003cp>This birthed a specific design aesthetic, Peskador says. “We wanted to create an analog and futuristic vision where technology and nature are embracing each other, not necessarily in contraposition and fighting.”\u003c/p>\n\u003cfigure id=\"attachment_13934660\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_3.jpg\" alt=\"A-Plus of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland.\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A-Plus of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual symbols included musical equipment — speakers and old-school equalizers — as well as what Peskador calls “a little magic: orbs of energy coming out of Opio’s hands, cables that turn into veins and the veins turn into roots. And all that is intertwined and interconnected, giving the statement [that] nothing is separate. We are all connected.”\u003c/p>\n\u003cp>The painters finished the day before the Sept. 3 unveiling ceremony, which turned out to be a reminder of what’s good about Oakland: culture, community, and diversity. \u003c/p>\n\u003cp>While waiting for the Souls to arrive, the muralists chatted with local visual artists Keena Romano and Jet Martinez, and DJ Hella Good spun underground hip-hop — including deep Hiero cuts, like Del’s “The Undisputed Ones” — while perched on a scaffold. Neighborhood residents remarked how they’d been following the mural’s progress as the crowd began to thicken with Hiero supporters: friends, family, and former Skyline High classmates. (Full disclosure: I spoke at this event, introducing the Souls by putting their legacy in context.)\u003c/p>\n\u003cp>[aside postID='arts_13924126']When it came time for the Souls to speak, the moment became weighty and poignant. Seeing the mural in person for the first time, they were visibly moved: A-Plus and Phesto, in particular, spoke in halting tones, struggling to find the right words and maintain composure. \u003c/p>\n\u003cp>“As guys who are wordsmiths,” Tajai began, “there’s no way to put into words” what the mural meant to them. “There is no way to possibly explain how this feels to guys who grew up here, never left here, been here the whole time, really trying to elevate what’s here. Because we know how beautiful and how important it is, just Oakland in general, worldwide.\u003c/p>\n\u003cp>“The Panthers, the hippies, womens’ movement, people with disabilities, (the Bay Area) is a place where all these movements have been championed. And spearheaded. To be part of this permanent landscape is extremely important to us. We’re grateful to the artists and all of y’all beyond the limited ability of words to express.”\u003c/p>\n\u003cfigure id=\"attachment_13934662\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_5.jpg\" alt=\"Tajai of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland.\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tajai of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a hectic year of doing 100-plus shows, on top of 30 years of being professional musicians, there weren’t many firsts they’d yet to achieve, Tajai added. “This here is a first like no other.”\u003c/p>\n\u003cp>“If you know me, I could never be called a man of few words, but there’s always a day,” said A-Plus, before taking an extended pause. “I know my father’s here. I’m super-thankful, super proud. Man…” his words trailed off. “This is huge. I love y’all.”\u003c/p>\n\u003cp>[aside postID='arts_13923938']“It’s indescribable,” said Opio. “We put our heart and soul into this. It’s been a lot of hard work and dedication. To be honored in your hometown has gotta be one of the greatest honors of all time for me.”\u003c/p>\n\u003cp>“We’ve been following the progress of the mural overseas and on the North American side,” explained Phesto Dee. “When they started finishing up this side, my wife brought my kids down and they stood in front of it.” He paused to let the emphasis resonate. “They stood in front and that just did it. The scale started to really come to me at that point, just how large it was. Also, what it means for generations to come.”\u003c/p>\n\u003cfigure id=\"attachment_13934664\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Burke_1.jpg\" alt=\"A portion of the Souls of Mischief mural at High Street and Watting in East Oakland.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Souls of Mischief mural in progress at High Street and Watting in East Oakland. \u003ccite>(David Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burke says it was important to give the Souls their flowers while they are still here, noting that many hip-hop-themed local murals are memorials painted only after the passing of a musical icon. He was also conscious of the fact the mural and its subjects represent a counter-narrative to mainstream depictions of hip-hop. During their Hiero Day performance, A-Plus told the crowd, “we’re about that peace.” When Opio came into the studio to take his reference photo, he reportedly said, “I just want to be smiling.”\u003c/p>\n\u003cp>The Love Letters crew are still planning a Phase 2, where they hope to complete the unfinished sections of the wall and honor local female hip-hop artists, along with Oakland’s graffiti history.\u003c/p>\n\u003cp>But for now, the artists can chill, knowing they’ve accomplished something great. For Peskador, the mural’s significance is that it has altered the neighborhood’s drab environment in a positive way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“That is so huge for me personally, to see how people vibrate (to the mural) and how you can change places… the energy of that corner is changed forever. It’s never going to be the same corner.”\u003c/p>\n\n",
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"excerpt": "A vibrant new mural in East Oakland of the hip-hop group represents a 30-year milestone.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been near lower High Street in Oakland over the past few weeks, you may have noticed something beautiful taking shape: a large, colorful mural featuring Oakland’s Souls of Mischief. \u003c/p>\n\u003cp>The mural, which covers the building for High Street Studios, spans parts of two city blocks and features portraits of all four members of the East Oakland hip-hop group. On the High Street side, Opio appears in a setting dotted with sunstars, flowers, and birds against a multi-hued sky. Next to him, Tajai gazes out at viewers amidst a backdrop of urban buildings, geometrical shapes, and the Hiero sigil imposed over a sunset cityscape\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the Watting Street side, Phesto Dee taps the side of his head with one hand while the other points outward, his figure partially obscuring what looks like an African mask with a speaker cone for an eye. Nearby is A-Plus, arms outstretched in a welcoming gesture in front of flowers and abstract disks. The combination of these images suggests a spiritual aspect of hip-hop you never knew existed.\u003c/p>\n\u003cp>The vibrant painting, created by artists based out of High Street Studios, is nestled in a working-class, industrial part of the Fruitvale District. It’s a neighborhood whose environmental landscape has historically been defined by nondescript buildings: auto parts stores, an OUSD facility and a lumber company coexist with numerous warehouses and live-work spaces.\u003c/p>\n\u003cfigure id=\"attachment_13934665\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/DSC00005.jpg\" alt=\"A portion of the Souls of Mischief mural at High Street and Watting in East Oakland.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/DSC00005-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A portion of the Souls of Mischief mural at High Street and Watting in East Oakland. \u003ccite>(David Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, the mural nods to a lesser-known element of the neighborhood’s history. Quiet as it’s kept, lower High Street has long been home to a vibrant artist community working out of those warehouses, and the area has made notable contributions to local hip-hop. In the mid-’90s, the warehouse at 4001 San Leandro was occupied by the Mystik Journeymen during a formative time in their development. The DIY hip-hop duo became known for throwing “Top Ramen” parties at the spot, where the cover charge was $5 or a package of the starchy instant noodle soup. When the crew expanded to become the Living Legends in 1996, emcees Eligh, the Grouch and Murs all moved into the space, where they lived in makeshift partitioned “rooms” and recorded some of their earliest works as a collective. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Faultline is among the currently active artist spaces in the area; others include the embattled Vulcan Lofts (whose residents have been fighting to maintain rent control and prevent displacement of 200 artists since 2019) and Oscillation Studios.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>David Burke, co-lead artist for the Souls of Mischief mural, is headquartered at High Street Studios, along with co-lead artist Pancho Peskador. The two are public art veterans; Burke served as art director for Art Esteem’s Oakland Superheroes Mural Project, while Peskador was co-lead artist on the Alice Street mural that became the subject of an award-winning documentary film. The story behind their most recent mural is one of compassion, sacrifice, love — and third eye vision.\u003c/p>\n\u003cp>Burke and Peskador worked on the project with a third co-lead artist, Joevic Yeban, as well as assistant artists Veronica Aguilar and Pablo Ruiz, and photographer Steve Babuliak. The mural is the third in a series of “Love Letter to Oakland”-themed murals; the other two are located in Jack London Square and Temescal. Burke says additional entries in the series are continually under consideration, “but we want them to be neighborhood-specific.”\u003c/p>\n\u003cfigure id=\"attachment_13934661\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_4.jpg\" alt=\"Phesto Dee of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland.\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_4-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Phesto Dee of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 30th anniversary of the Souls’ debut album \u003cem>93 Til Infinity\u003c/em> served as a catalyst for the mural, says Burke. “I thought, man, that would be a great thing to celebrate them in conjunction with this anniversary tour,” he says. In the first half of this year, Burke’s team met with the Souls and brought them into the studio for reference photos. “And then,” Burke says, “we had to find a site.”\u003c/p>\n\u003cp>They wanted a large-scale wall to maximize visual impact, and a spot in East Oakland, where the Souls are from. “That was really important to us, because their headquarters is right around the corner from where we eventually painted the mural,” says Burke.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After exploring various options, the best one turned out to be their home base. High Street Studios’ landlord gave them permission to paint the studio’s building, and also granted them a rent reduction for the service — which was critical, because other funding sources dried up. The muralists ended up doing their latest love letter as an actual act of love. \u003c/p>\n\u003cp>“It’s not like we’re trying to always do this under budget or for free or anything like that,” Burke says, adding that artists sometimes have to find a balance between commercially lucrative and artistically satisfying projects. This was the latter.\u003c/p>\n\u003cfigure id=\"attachment_13934667\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_1.jpg\" alt=\"\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_1-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A-Plus, David Burke, Opio, Joevic Yeban, Tajai, Pancho Peskador and Phesto Dee pose in front of the Souls of Mischief mural at High and Watting Streets in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work began in July; the entire painting process took about five weeks. Throughout, the muralists’ spirits were uplifted, Peskador says, by “the constant support and excitement of the neighborhood people” from all walks of life: OUSD employees, the unhoused, everyday residents and families.\u003c/p>\n\u003cp>The original sketch left room for creative inspiration. “In this mural we were jazz players,” says Peskador. “It has a structure. But also we were able to improvise on top of that structure.”\u003c/p>\n\u003cp>“We wanted to give each one of the band members their own space to operate. And each one of those portraits has their own environment,” adds Burke.\u003c/p>\n\u003cp>This birthed a specific design aesthetic, Peskador says. “We wanted to create an analog and futuristic vision where technology and nature are embracing each other, not necessarily in contraposition and fighting.”\u003c/p>\n\u003cfigure id=\"attachment_13934660\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_3.jpg\" alt=\"A-Plus of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland.\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_3-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A-Plus of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual symbols included musical equipment — speakers and old-school equalizers — as well as what Peskador calls “a little magic: orbs of energy coming out of Opio’s hands, cables that turn into veins and the veins turn into roots. And all that is intertwined and interconnected, giving the statement [that] nothing is separate. We are all connected.”\u003c/p>\n\u003cp>The painters finished the day before the Sept. 3 unveiling ceremony, which turned out to be a reminder of what’s good about Oakland: culture, community, and diversity. \u003c/p>\n\u003cp>While waiting for the Souls to arrive, the muralists chatted with local visual artists Keena Romano and Jet Martinez, and DJ Hella Good spun underground hip-hop — including deep Hiero cuts, like Del’s “The Undisputed Ones” — while perched on a scaffold. Neighborhood residents remarked how they’d been following the mural’s progress as the crowd began to thicken with Hiero supporters: friends, family, and former Skyline High classmates. (Full disclosure: I spoke at this event, introducing the Souls by putting their legacy in context.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When it came time for the Souls to speak, the moment became weighty and poignant. Seeing the mural in person for the first time, they were visibly moved: A-Plus and Phesto, in particular, spoke in halting tones, struggling to find the right words and maintain composure. \u003c/p>\n\u003cp>“As guys who are wordsmiths,” Tajai began, “there’s no way to put into words” what the mural meant to them. “There is no way to possibly explain how this feels to guys who grew up here, never left here, been here the whole time, really trying to elevate what’s here. Because we know how beautiful and how important it is, just Oakland in general, worldwide.\u003c/p>\n\u003cp>“The Panthers, the hippies, womens’ movement, people with disabilities, (the Bay Area) is a place where all these movements have been championed. And spearheaded. To be part of this permanent landscape is extremely important to us. We’re grateful to the artists and all of y’all beyond the limited ability of words to express.”\u003c/p>\n\u003cfigure id=\"attachment_13934662\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Babuljak_5.jpg\" alt=\"Tajai of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland.\" width=\"1920\" height=\"1275\" class=\"size-full wp-image-13934662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Babuljak_5-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tajai of Souls of Mischief poses in front of his own likeness, painted as part of a mural in East Oakland. \u003ccite>(Steve Babuljak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a hectic year of doing 100-plus shows, on top of 30 years of being professional musicians, there weren’t many firsts they’d yet to achieve, Tajai added. “This here is a first like no other.”\u003c/p>\n\u003cp>“If you know me, I could never be called a man of few words, but there’s always a day,” said A-Plus, before taking an extended pause. “I know my father’s here. I’m super-thankful, super proud. Man…” his words trailed off. “This is huge. I love y’all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s indescribable,” said Opio. “We put our heart and soul into this. It’s been a lot of hard work and dedication. To be honored in your hometown has gotta be one of the greatest honors of all time for me.”\u003c/p>\n\u003cp>“We’ve been following the progress of the mural overseas and on the North American side,” explained Phesto Dee. “When they started finishing up this side, my wife brought my kids down and they stood in front of it.” He paused to let the emphasis resonate. “They stood in front and that just did it. The scale started to really come to me at that point, just how large it was. Also, what it means for generations to come.”\u003c/p>\n\u003cfigure id=\"attachment_13934664\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Burke_1.jpg\" alt=\"A portion of the Souls of Mischief mural at High Street and Watting in East Oakland.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13934664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Burke_1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Souls of Mischief mural in progress at High Street and Watting in East Oakland. \u003ccite>(David Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burke says it was important to give the Souls their flowers while they are still here, noting that many hip-hop-themed local murals are memorials painted only after the passing of a musical icon. He was also conscious of the fact the mural and its subjects represent a counter-narrative to mainstream depictions of hip-hop. During their Hiero Day performance, A-Plus told the crowd, “we’re about that peace.” When Opio came into the studio to take his reference photo, he reportedly said, “I just want to be smiling.”\u003c/p>\n\u003cp>The Love Letters crew are still planning a Phase 2, where they hope to complete the unfinished sections of the wall and honor local female hip-hop artists, along with Oakland’s graffiti history.\u003c/p>\n\u003cp>But for now, the artists can chill, knowing they’ve accomplished something great. For Peskador, the mural’s significance is that it has altered the neighborhood’s drab environment in a positive way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That is so huge for me personally, to see how people vibrate (to the mural) and how you can change places… the energy of that corner is changed forever. It’s never going to be the same corner.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Permanent Behavior: Repping 'Cali-Chicano' Tattoo Style",
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"headTitle": "Permanent Behavior: Repping ‘Cali-Chicano’ Tattoo Style | KQED",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6818480529&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>“Permanent Behavior: Getting Tatted in the Bay,” is our\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\"> four-part series\u003c/a>, about local tattoo artists. In these stories, we dive into the permanence of ink as it resides on impermanent beings.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Read the transcript \u003ca href=\"https://bit.ly/3cFNogV\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Tattoo artist \u003ca class=\"c-link\" href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/misterbouncer/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">Miguel “Bounce” Perez\u003c/a> has vivid childhood memories of art created by his family: His mother drew “chola-style” portraits of women with feathered hair and sharp brows, while his uncles created lettering in “Cali-Chicano” Old English script. His father was part of a car club in his West Berkeley community, a neighborhood that was also home to a number of graffiti murals.\u003c/p>\n\u003cfigure id=\"attachment_13918596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918596\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel “Bounce”Perez at the new location of Philthy Clean Tattoo in Berkeley on Aug. 31, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this poured into Perez, and laid the foundation for what he does today.\u003c/p>\n\u003cp>[aside postid='arts_13935864']He’s a versatile artist, who sees collaboration with his clients as central to his work. He’s done touch-ups for people who’ve been incarcerated, and even inked a team of mathletes. His art is detailed and graphic, ranging from Mayan goddesses to anime characters.\u003c/p>\n\u003cp>Perez says he doesn’t have a “specialty,” but he’s often asked to do cover-ups of faded tattoos; a community service of sorts.\u003c/p>\n\u003cp>He’s also part of the art collective\u003ca href=\"https://www.trustyourstruggle.org/\"> Trust Your Struggle\u003c/a>, which paints murals in other countries that have been historically colonized and thus, under-resourced.\u003c/p>\n\u003cfigure id=\"attachment_13918626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918626 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez works with Lindsey Tran to create her leg and sleeve tattoos at the new location of Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given Perez’s experiences with both impermanent aerosol and indelible ink, I figured he’d be the best person to start this exploration into the culture of tattooing in the Bay Area, and what it feels like to create \u003cem>permanent\u003c/em> artwork— if such a thing exists.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Miguel “Bounce” Perez:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">Bring us back to the origins, how’d you get started in art in general?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Miguel:\u003c/em> \u003cspan style=\"font-weight: 400\">The first influences are like from my mom. \u003c/span>\u003cspan style=\"font-weight: 400\">She used to draw these kind of chola drawings, you know, the Chicano style cholas with feathered hair, all nice and detailed. \u003c/span>\u003cspan style=\"font-weight: 400\">I remember I used to create my own little comic characters and my uncles drew too. They all kind of did that same kind of that Cali-Chicano style. My uncles did the cholo letters. We’d see them around the house, like written on books and all this stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span>\u003cspan style=\"font-weight: 400\">So how did, how did Berkeley, as a city, pour into your work as an artist?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel:\u003c/em> \u003c/span>\u003cspan style=\"font-weight: 400\">I feel like there’s a lot of murals around Berkeley that influenced me. The Che mural, the West Campus one, the recycling mural that was on MLK. I went from seeing all the Chicano styles that my family was doing and seeing graff and murals on the street. I think that definitely seeped its way in. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918624 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez tattoos the sleeve of Lindsey Tran at the new location of Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: Miguel also came up with a crew known as Trust Your Struggle. The collective of artists do work for low or no cost in communities that could benefit from murals or other visual art that supports local culture. They started in 2003, and they’ve done work not only in the Bay but in Hawaii and the Philippines, and other places. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel\u003c/em>\u003c/span>:\u003c/b> \u003cspan style=\"font-weight: 400\">T\u003c/span>\u003cspan style=\"font-weight: 400\">rust Your Struggle it was definitely like-minded folks who had a lot of the same passions and same views on the world, politics and life and everything. I think we’re more just like a crew of homies. \u003c/span>\u003cspan style=\"font-weight: 400\">Some of the earlier things we were doing was these mural tours. We went started in Mexico and like worked our way down, on bus all the way to Nicaragua. Basically donated murals, linked up with different organizations and painted. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel:\u003c/em> I remember one of the last ones we did in 2009, we went to the Philippines. \u003c/span>\u003cspan style=\"font-weight: 400\">We were meeting up with these orgs and stuff. Like this was the one we’d probably raised the most money for and we get out there and we’re like, ‘Yeah, we’re gonna do this mural for y’all, it’s free, blah, blah, blah.’ And they’re like, ‘Great, this is beautiful.’ And then we see like how they living and they’re like, ‘Oh shit. Like, they don’t need a mural. They need food, some clothes.’ \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez continues working on Lindsey Tran’s sleeve at Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel: \u003c/em>It humbled us. You ain’t gonna save the world with a painting. It might look pretty. So, some of us have got more into, actual legislation. My boy \u003ca href=\"https://www.kqed.org/arts/13918019/robert-liu-trujillo-on-creating-books-for-kids-like-me\">Rob [Liu-Trujillo]\u003c/a> is, like, doing, like, children’s books.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel: \u003c/em>I’m doing tattoos, which is just like not like a political thing, but the thing that’s cool about tattoos, it’s always some transitional period in most people’s lives when they’re getting it. And it’s pretty cool to share that with them and even help guide them through it. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cb>\u003cspan style=\"font-weight: 400\">Pen\u003c/span>: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s so tight, bro, like thinking about life in those transitional periods and change is the only constant. But to get something to signify that you’ve gone through a transitional period is to say that ‘I want something to last forever from this doorway that I’m going through.’ And you’re more or less holding that door open or helping construct the doorway.\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Miguel:\u003c/em>\u003cspan style=\"font-weight: 400\">\u003cem> \u003c/em>Even sometimes I’m closing it, like, don’t go through that door! \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know if you want that door. [laughs]\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918620 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The neon sign for Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Tattoo artist Miguel \"Bounce\" Perez takes inspiration from the art created by his family and the West Berkeley neighborhood he grew up in. ",
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"title": "Permanent Behavior: Repping 'Cali-Chicano' Tattoo Style | KQED",
"description": "Tattoo artist Miguel "Bounce" Perez takes inspiration from the art created by his family and the West Berkeley neighborhood he grew up in. ",
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"headline": "Permanent Behavior: Repping 'Cali-Chicano' Tattoo Style",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6818480529&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>“Permanent Behavior: Getting Tatted in the Bay,” is our\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\"> four-part series\u003c/a>, about local tattoo artists. In these stories, we dive into the permanence of ink as it resides on impermanent beings.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Read the transcript \u003ca href=\"https://bit.ly/3cFNogV\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Tattoo artist \u003ca class=\"c-link\" href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/misterbouncer/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">Miguel “Bounce” Perez\u003c/a> has vivid childhood memories of art created by his family: His mother drew “chola-style” portraits of women with feathered hair and sharp brows, while his uncles created lettering in “Cali-Chicano” Old English script. His father was part of a car club in his West Berkeley community, a neighborhood that was also home to a number of graffiti murals.\u003c/p>\n\u003cfigure id=\"attachment_13918596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918596\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel “Bounce”Perez at the new location of Philthy Clean Tattoo in Berkeley on Aug. 31, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this poured into Perez, and laid the foundation for what he does today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He’s a versatile artist, who sees collaboration with his clients as central to his work. He’s done touch-ups for people who’ve been incarcerated, and even inked a team of mathletes. His art is detailed and graphic, ranging from Mayan goddesses to anime characters.\u003c/p>\n\u003cp>Perez says he doesn’t have a “specialty,” but he’s often asked to do cover-ups of faded tattoos; a community service of sorts.\u003c/p>\n\u003cp>He’s also part of the art collective\u003ca href=\"https://www.trustyourstruggle.org/\"> Trust Your Struggle\u003c/a>, which paints murals in other countries that have been historically colonized and thus, under-resourced.\u003c/p>\n\u003cfigure id=\"attachment_13918626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918626 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez works with Lindsey Tran to create her leg and sleeve tattoos at the new location of Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given Perez’s experiences with both impermanent aerosol and indelible ink, I figured he’d be the best person to start this exploration into the culture of tattooing in the Bay Area, and what it feels like to create \u003cem>permanent\u003c/em> artwork— if such a thing exists.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Miguel “Bounce” Perez:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">Bring us back to the origins, how’d you get started in art in general?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Miguel:\u003c/em> \u003cspan style=\"font-weight: 400\">The first influences are like from my mom. \u003c/span>\u003cspan style=\"font-weight: 400\">She used to draw these kind of chola drawings, you know, the Chicano style cholas with feathered hair, all nice and detailed. \u003c/span>\u003cspan style=\"font-weight: 400\">I remember I used to create my own little comic characters and my uncles drew too. They all kind of did that same kind of that Cali-Chicano style. My uncles did the cholo letters. We’d see them around the house, like written on books and all this stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span>\u003cspan style=\"font-weight: 400\">So how did, how did Berkeley, as a city, pour into your work as an artist?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel:\u003c/em> \u003c/span>\u003cspan style=\"font-weight: 400\">I feel like there’s a lot of murals around Berkeley that influenced me. The Che mural, the West Campus one, the recycling mural that was on MLK. I went from seeing all the Chicano styles that my family was doing and seeing graff and murals on the street. I think that definitely seeped its way in. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918624 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez tattoos the sleeve of Lindsey Tran at the new location of Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: Miguel also came up with a crew known as Trust Your Struggle. The collective of artists do work for low or no cost in communities that could benefit from murals or other visual art that supports local culture. They started in 2003, and they’ve done work not only in the Bay but in Hawaii and the Philippines, and other places. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel\u003c/em>\u003c/span>:\u003c/b> \u003cspan style=\"font-weight: 400\">T\u003c/span>\u003cspan style=\"font-weight: 400\">rust Your Struggle it was definitely like-minded folks who had a lot of the same passions and same views on the world, politics and life and everything. I think we’re more just like a crew of homies. \u003c/span>\u003cspan style=\"font-weight: 400\">Some of the earlier things we were doing was these mural tours. We went started in Mexico and like worked our way down, on bus all the way to Nicaragua. Basically donated murals, linked up with different organizations and painted. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel:\u003c/em> I remember one of the last ones we did in 2009, we went to the Philippines. \u003c/span>\u003cspan style=\"font-weight: 400\">We were meeting up with these orgs and stuff. Like this was the one we’d probably raised the most money for and we get out there and we’re like, ‘Yeah, we’re gonna do this mural for y’all, it’s free, blah, blah, blah.’ And they’re like, ‘Great, this is beautiful.’ And then we see like how they living and they’re like, ‘Oh shit. Like, they don’t need a mural. They need food, some clothes.’ \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez continues working on Lindsey Tran’s sleeve at Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel: \u003c/em>It humbled us. You ain’t gonna save the world with a painting. It might look pretty. So, some of us have got more into, actual legislation. My boy \u003ca href=\"https://www.kqed.org/arts/13918019/robert-liu-trujillo-on-creating-books-for-kids-like-me\">Rob [Liu-Trujillo]\u003c/a> is, like, doing, like, children’s books.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel: \u003c/em>I’m doing tattoos, which is just like not like a political thing, but the thing that’s cool about tattoos, it’s always some transitional period in most people’s lives when they’re getting it. And it’s pretty cool to share that with them and even help guide them through it. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cb>\u003cspan style=\"font-weight: 400\">Pen\u003c/span>: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s so tight, bro, like thinking about life in those transitional periods and change is the only constant. But to get something to signify that you’ve gone through a transitional period is to say that ‘I want something to last forever from this doorway that I’m going through.’ And you’re more or less holding that door open or helping construct the doorway.\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Miguel:\u003c/em>\u003cspan style=\"font-weight: 400\">\u003cem> \u003c/em>Even sometimes I’m closing it, like, don’t go through that door! \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know if you want that door. [laughs]\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918620 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The neon sign for Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Mission’s Mother and Son Painting Duo",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9975911487\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Mission District-based muralist Josué Rojas and his mother, Esther García are a dynamic duo.\u003c/p>\n\u003cp>Josué has painted murals across San Francisco and beyond, often using images that celebrate culture and community. Esther picked up painting during the pandemic, but she’s been leaving her mark on the neighborhood for decades.\u003c/p>\n\u003cp>As she sold small goods on the street, Esther built a reputation for her sage-like presence around the way. Josué remembers times when she’d be asked to pray over people, and she’d kindly oblige.\u003c/p>\n\u003cp>Her presence is so strong that she got in good with local artists collectives, like the \u003ca href=\"https://www.instagram.com/chulitavinylclub/\" target=\"_blank\" rel=\"noopener noreferrer\">Chulita Vinyl Club\u003c/a>. And the artist JR incorporated Esther’s image into \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/jr/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chronicles of San Francisco\u003c/a>, \u003c/i>a gigantic mural that was in the main entrance to the San Francisco Musuem of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_13912896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912896 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-copy-800x600.jpg\" alt='Esther gave Josué the \"G-Pass,\" you can see why. ' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esther gave Josué the “G-Pass,” you can see why. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Esther didn’t understand Josué’s art career at first, she watched Josue’s journey as he earned a Masters of Fine Arts from Boston University, served as the executive director of \u003cspan style=\"font-weight: 400\">Acción Latina and became a well-respected muralists on the streets and in the galleries of his hometown. You can see \u003ca href=\"https://www.instagram.com/p/CcqHm3pLjap/\" target=\"_blank\" rel=\"noopener noreferrer\">Josué’s latest piece\u003c/a> at the Chinese Historical Society of America Museum.\u003c/span>\u003c/p>\n\u003cp>Now, at 75, Esther has been learning how to paint under the tutelage of one very demanding teacher: her son. And she tells me that she doesn’t like what they paint– she loves it.\u003c/p>\n\u003cfigure id=\"attachment_13912895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912895 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-800x600.jpg\" alt=\"The image of a multicolored tropical bird, one of Josué Rojas' staple images, looks on as Esther and Josué finish a mural in Balmy Alley. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas and Esther finish a mural in Balmy Alley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of the podcast.\u003c/strong>\u003c/p>\n\u003cp>Josué: My mom is really kind of one of the biggest of influences. She’s a real tough cookie. She just turned 75…\u003c/p>\n\u003cp>Josué: [My brothers and I] were all born in El Salvador. I’m the youngest of four boys. She brought us all here to San Francisco to avoid the war. The war really kicked off around 1980 in El Salvador. I was born in December of 79. So there were little skirmishes and battles, and she was dodging bullets while pregnant with me. And she was like, “This is not how I want to raise my kids, and I don’t want them to grow up and be forcefully recruited to either side of this war… I don’t want my kids to participate in this.”\u003c/p>\n\u003cp>Josué: So she sold everything she had. She had a small business and she brought us here. Thus begins my upbringing in the mission.\u003c/p>\n\u003cp>Josué: My mom worked really hard her whole life and so it was really hard for her to reconcile that at around 15, I’m coming home with paint all over my jeans, paint all over my nice clothes, whatever it would be. And she’d be like, “What is wrong with you?”\u003c/p>\n\u003cp>Esther: He was in high school, the teachers asked him what he wanna be when he got adult. And he’d say, “Paint!” I say, “What!?” “Mom, I like it.” I’d say “No! This is for the rich people!” … But now I understand very well. And the teacher tell me, “Let him be what he want to be.” I’d say, “okay, okay, I can.” And now I am painting too!\u003c/p>\n\u003cp>Josué: It took a little bit of convincing, and once she saw how much joy it gave me, she realized that it could give her a little bit of joy, too… It went from like, “No, don’t do that, don’t do that!” to being like, “Hey, what are you doing?” And then it became like, “Hey, how do you do that?” And then it became, “Hey, teach me how to do that.”\u003c/p>\n\u003cp>Josué: Everything that I would learn, I’d bring home and I would school her with. And so she’s been a practicing artist, too.\u003c/p>\n\u003cp>\u003cem>Pen narration: Josue’s mother is a multi-talented creator, skilled at making small crafts and a budding visual artist as well. And in Josue’s work, you can spot her signature, M-E-G, which are her initials.\u003c/em>\u003c/p>\n\u003cp>Josué: During the pandemic, she was like locked up at home. So I was making sure she had everything she needs. I would make sure she had groceries, make sure she had all her medications and all that kind of stuff, and also make sure she had blank canvases and paints so that she could paint at home and stay fresh and stay hot with her practice. It was just a way of making sure that we were feeding the body, but also feeding the soul.\u003c/p>\n\u003cp>Josué: She spent some time out in the street doing street vending, many years back, just to kind of survive. And she always blended her own take into that, for her, she’s a deeply spiritual person, and I don’t think you live the life that she has lived without a powerful spirituality.\u003c/p>\n\u003cp>Esther: Oh, yeah. Yeah. A lot of people they know I am Christian. The people go over there and say, “Can you pray for me?” I say, “Why not?” And I pray for the people… God made the miracle. And I do it. I do it because we loved the people. I love the people. I want the people to be safe.\u003c/p>\n\u003cp>Josué: And so I’ve seen people come to her in some real need. People that are hooked on substances or who have been abused and are in some serious distress, people living on the streets. And they see her as this elder.\u003c/p>\n\u003cp>Pen: And you’ve told me that she’s been depicted in murals as well. So how does it feel to share your mom with the community?\u003c/p>\n\u003cp>Josué: I learned early on that she isn’t only my mom like she is an elder, an OG for many other people.\u003c/p>\n\u003cp>Esther: Oh, my God! I know! I no understand why! I say, “I am very old and ugly!” And he painting a very, very big picture in the city hall. And another day, ¿Cómo se llamalo?\u003c/p>\n\u003cp>Josué: J.R. The artist, J.R.\u003c/p>\n\u003cp>Esther: Well, the point is, they put me in a big mural ¿Cómo se llama?\u003c/p>\n\u003cp>Josué: In the San Francisco MoMA. That big black and white piece that J.R. did. Yeah.\u003c/p>\n\u003cp>Josué: … She also was hanging out with like the Chulita Vinyl Club before she introduced me to them. I was like, “Oh my God, I’ve been trying to get hold of them to come and spinning at my openings!” and they’re like, “Oh, well, only because she’s your mom. We’ll think about doing that kind of thing.” And I was like, “Oh man, she’s cooler than me.”\u003c/p>\n\u003cp>Pen: The moms gave you the G-pass! I love it!\u003c/p>\n\u003cp>Josué: Yeah! Moms gave me the G-pass, thats right!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"subhead": "Josué Rojas and his mother Esther García are neighborhood legends!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9975911487\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Mission District-based muralist Josué Rojas and his mother, Esther García are a dynamic duo.\u003c/p>\n\u003cp>Josué has painted murals across San Francisco and beyond, often using images that celebrate culture and community. Esther picked up painting during the pandemic, but she’s been leaving her mark on the neighborhood for decades.\u003c/p>\n\u003cp>As she sold small goods on the street, Esther built a reputation for her sage-like presence around the way. Josué remembers times when she’d be asked to pray over people, and she’d kindly oblige.\u003c/p>\n\u003cp>Her presence is so strong that she got in good with local artists collectives, like the \u003ca href=\"https://www.instagram.com/chulitavinylclub/\" target=\"_blank\" rel=\"noopener noreferrer\">Chulita Vinyl Club\u003c/a>. And the artist JR incorporated Esther’s image into \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/jr/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chronicles of San Francisco\u003c/a>, \u003c/i>a gigantic mural that was in the main entrance to the San Francisco Musuem of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_13912896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912896 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-copy-800x600.jpg\" alt='Esther gave Josué the \"G-Pass,\" you can see why. ' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esther gave Josué the “G-Pass,” you can see why. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Esther didn’t understand Josué’s art career at first, she watched Josue’s journey as he earned a Masters of Fine Arts from Boston University, served as the executive director of \u003cspan style=\"font-weight: 400\">Acción Latina and became a well-respected muralists on the streets and in the galleries of his hometown. You can see \u003ca href=\"https://www.instagram.com/p/CcqHm3pLjap/\" target=\"_blank\" rel=\"noopener noreferrer\">Josué’s latest piece\u003c/a> at the Chinese Historical Society of America Museum.\u003c/span>\u003c/p>\n\u003cp>Now, at 75, Esther has been learning how to paint under the tutelage of one very demanding teacher: her son. And she tells me that she doesn’t like what they paint– she loves it.\u003c/p>\n\u003cfigure id=\"attachment_13912895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912895 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-800x600.jpg\" alt=\"The image of a multicolored tropical bird, one of Josué Rojas' staple images, looks on as Esther and Josué finish a mural in Balmy Alley. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas and Esther finish a mural in Balmy Alley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of the podcast.\u003c/strong>\u003c/p>\n\u003cp>Josué: My mom is really kind of one of the biggest of influences. She’s a real tough cookie. She just turned 75…\u003c/p>\n\u003cp>Josué: [My brothers and I] were all born in El Salvador. I’m the youngest of four boys. She brought us all here to San Francisco to avoid the war. The war really kicked off around 1980 in El Salvador. I was born in December of 79. So there were little skirmishes and battles, and she was dodging bullets while pregnant with me. And she was like, “This is not how I want to raise my kids, and I don’t want them to grow up and be forcefully recruited to either side of this war… I don’t want my kids to participate in this.”\u003c/p>\n\u003cp>Josué: So she sold everything she had. She had a small business and she brought us here. Thus begins my upbringing in the mission.\u003c/p>\n\u003cp>Josué: My mom worked really hard her whole life and so it was really hard for her to reconcile that at around 15, I’m coming home with paint all over my jeans, paint all over my nice clothes, whatever it would be. And she’d be like, “What is wrong with you?”\u003c/p>\n\u003cp>Esther: He was in high school, the teachers asked him what he wanna be when he got adult. And he’d say, “Paint!” I say, “What!?” “Mom, I like it.” I’d say “No! This is for the rich people!” … But now I understand very well. And the teacher tell me, “Let him be what he want to be.” I’d say, “okay, okay, I can.” And now I am painting too!\u003c/p>\n\u003cp>Josué: It took a little bit of convincing, and once she saw how much joy it gave me, she realized that it could give her a little bit of joy, too… It went from like, “No, don’t do that, don’t do that!” to being like, “Hey, what are you doing?” And then it became like, “Hey, how do you do that?” And then it became, “Hey, teach me how to do that.”\u003c/p>\n\u003cp>Josué: Everything that I would learn, I’d bring home and I would school her with. And so she’s been a practicing artist, too.\u003c/p>\n\u003cp>\u003cem>Pen narration: Josue’s mother is a multi-talented creator, skilled at making small crafts and a budding visual artist as well. And in Josue’s work, you can spot her signature, M-E-G, which are her initials.\u003c/em>\u003c/p>\n\u003cp>Josué: During the pandemic, she was like locked up at home. So I was making sure she had everything she needs. I would make sure she had groceries, make sure she had all her medications and all that kind of stuff, and also make sure she had blank canvases and paints so that she could paint at home and stay fresh and stay hot with her practice. It was just a way of making sure that we were feeding the body, but also feeding the soul.\u003c/p>\n\u003cp>Josué: She spent some time out in the street doing street vending, many years back, just to kind of survive. And she always blended her own take into that, for her, she’s a deeply spiritual person, and I don’t think you live the life that she has lived without a powerful spirituality.\u003c/p>\n\u003cp>Esther: Oh, yeah. Yeah. A lot of people they know I am Christian. The people go over there and say, “Can you pray for me?” I say, “Why not?” And I pray for the people… God made the miracle. And I do it. I do it because we loved the people. I love the people. I want the people to be safe.\u003c/p>\n\u003cp>Josué: And so I’ve seen people come to her in some real need. People that are hooked on substances or who have been abused and are in some serious distress, people living on the streets. And they see her as this elder.\u003c/p>\n\u003cp>Pen: And you’ve told me that she’s been depicted in murals as well. So how does it feel to share your mom with the community?\u003c/p>\n\u003cp>Josué: I learned early on that she isn’t only my mom like she is an elder, an OG for many other people.\u003c/p>\n\u003cp>Esther: Oh, my God! I know! I no understand why! I say, “I am very old and ugly!” And he painting a very, very big picture in the city hall. And another day, ¿Cómo se llamalo?\u003c/p>\n\u003cp>Josué: J.R. The artist, J.R.\u003c/p>\n\u003cp>Esther: Well, the point is, they put me in a big mural ¿Cómo se llama?\u003c/p>\n\u003cp>Josué: In the San Francisco MoMA. That big black and white piece that J.R. did. Yeah.\u003c/p>\n\u003cp>Josué: … She also was hanging out with like the Chulita Vinyl Club before she introduced me to them. I was like, “Oh my God, I’ve been trying to get hold of them to come and spinning at my openings!” and they’re like, “Oh, well, only because she’s your mom. We’ll think about doing that kind of thing.” And I was like, “Oh man, she’s cooler than me.”\u003c/p>\n\u003cp>Pen: The moms gave you the G-pass! I love it!\u003c/p>\n\u003cp>Josué: Yeah! Moms gave me the G-pass, thats right!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A mural stands in downtown Oakland that honors the city’s culture and history. It’s a giant artwork birthed out of years and years of community conversations and the artists’ commitment to the concept.\u003c/p>\n\u003cp>The problem is that nobody can see the mural. Not anymore, at least. Except for a small patch of paint poking from behind a barrier, the mural depicting Oakland’s culture is now completely blocked by a new six-story luxury high-rise.\u003c/p>\n\u003cp>The story of the mural, and its disappearance, is shown in the full-length documentary \u003ca href=\"https://www.instagram.com/p/CV_mXnkP8fz/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Alice Street\u003c/em>\u003c/a>. On Tuesday, Nov. 16, as a part of the Berkeley Film Foundation’s documentary screening series, the film will be shown at Oakland’s \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/10159?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">New Parkway Theatre\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13906006\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-1-800x532.jpeg\" alt=\"Artists marching to City Hall to make sure their voices are heard. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1020x678.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1536x1021.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-2048x1362.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1920x1277.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists gathered and marched to City Hall to make sure their voices are heard. \u003ccite>(Pancho Pescador)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead artists \u003ca href=\"https://www.instagram.com/withoutmyego/\" target=\"_blank\" rel=\"noopener noreferrer\">Desi Mundo\u003c/a> (founder of the \u003ca href=\"https://crpbayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Rejuvenation Project\u003c/a>) and \u003ca href=\"https://www.instagram.com/panchopescador/\" target=\"_blank\" rel=\"noopener noreferrer\">Pancho Pescador\u003c/a> began the project over a decade ago. The process was documented, from idea to outline. There were community conferences and government gatherings, as well as critiques and criticisms from neighbors who felt like the theme—people of color pushing for resistance against oppressive forces—didn’t represent their experience.\u003c/p>\n\u003cp>Nearby cultural centers were also included. At 14th Street and Alice Street, right across the street from the mural, is the Malonga Casquelourd Center, a hub for African drumming and dance performances. On the other side sits Hotel Oakland, a residential and cultural space for older Asian folks. Elements from the two centers—both the physical design of the buildings and faces of the people who’ve graced those grounds—were incorporated into the artwork.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The artists eventually created a mural covering four large walls of a sizable parking lot. But as the paint dried and the \u003ca href=\"https://www.kqed.org/arts/10139706/oaklands-newest-mural\" target=\"_blank\" rel=\"noopener noreferrer\">ribbon was cut in\u003c/a> August of 2014, a new development was being planned on that very spot.\u003c/p>\n\u003cfigure id=\"attachment_13906005\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-3-800x553.jpeg\" alt=\"Performers playing instruments inside of Hotel Oakland.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1020x705.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1536x1061.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-2048x1415.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1920x1326.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers play instruments inside of Hotel Oakland. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m excited to highlight the artists and what’s happened since the documentary took place,” says film producer \u003ca href=\"https://linktr.ee/spenceriwilkinson\" target=\"_blank\" rel=\"noopener noreferrer\">Spencer Wilkinson.\u003c/a>\u003c/p>\n\u003cp>He says the two lead artists on the project will be present for a post-screening dialogue on Nov. 16. They’ll be joined by drummer \u003ca href=\"https://actaonline.org/profile/kiazi-malonga/\" target=\"_blank\" rel=\"noopener noreferrer\">Kiazi Malonga\u003c/a>, son of the late world-renown artist Malonga Casquelourd and head of the \u003ca href=\"https://www.actaonline.org/profile/fua-dia-congo/\" target=\"_blank\" rel=\"noopener noreferrer\">Fua Dia Congo\u003c/a> performance group, as well as musician and poet \u003ca href=\"https://destinymuhammad.net/home\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny Muhammad,\u003c/a> who is featured in the film asking the poignant question: “Is what’s coming better than what’s here?”\u003c/p>\n\u003cp>The film concludes with a note that individuals and community organizations such as the \u003ca href=\"https://www.ccedoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Coalition For Equitable Development (CCED)\u003c/a> have pushed for and received a set of community benefit agreements, which have led to more low-income housing, more parking—and, in addition to other agreements, they’ve been financially supported in the painting of a new mural.\u003c/p>\n\u003cfigure id=\"attachment_13906004\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/DK6dODsQ-800x640.jpeg\" alt=\"Drummers gather at a celebration for the new mural on 14th Street in Oakland.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-768x615.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-2048x1639.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1920x1537.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drummers gather at a celebration for the new mural on 14th Street in Oakland. \u003ccite>(Rudi Tcruz and Galex Tcruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple blocks down from the location of the site of the previous mural, on the side of the \u003ca href=\"https://greenlining.org/?gclid=CjwKCAiA1aiMBhAUEiwACw25MbNayyyBrFf0DTmTvP6XMoVjjDk6eJKLCYNgCPH7y_LpXVuc66ElURoCvyEQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Greenlining Institute\u003c/a>, now stands a new painting featuring some of the same artists as the previous piece, as well as the themes of housing justice, diversity and cultural arts.\u003c/p>\n\u003cp>As for the old mural, mummified by a new building? Maybe years, or decades from now it will see new light. But for now, all that’s visible are the names of the artists and the website where you can get more information about \u003ca href=\"https://www.alicestreetfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the film\u003c/a>—and the ongoing conversation about the arts, community and urban development.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Alice Street’ screens Tuesday, Nov. 16, at the New Parkway in Oakland. \u003ca href=\"https://www.youtube.com/watch?v=1lJRPZLuY9c\" target=\"_blank\" rel=\"noopener noreferrer\">Trailer here\u003c/a>, and \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/10159?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "'Alice Street' Documents Oakland's Hidden Downtown Mural | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A mural stands in downtown Oakland that honors the city’s culture and history. It’s a giant artwork birthed out of years and years of community conversations and the artists’ commitment to the concept.\u003c/p>\n\u003cp>The problem is that nobody can see the mural. Not anymore, at least. Except for a small patch of paint poking from behind a barrier, the mural depicting Oakland’s culture is now completely blocked by a new six-story luxury high-rise.\u003c/p>\n\u003cp>The story of the mural, and its disappearance, is shown in the full-length documentary \u003ca href=\"https://www.instagram.com/p/CV_mXnkP8fz/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Alice Street\u003c/em>\u003c/a>. On Tuesday, Nov. 16, as a part of the Berkeley Film Foundation’s documentary screening series, the film will be shown at Oakland’s \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/10159?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">New Parkway Theatre\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13906006\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-1-800x532.jpeg\" alt=\"Artists marching to City Hall to make sure their voices are heard. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1020x678.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1536x1021.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-2048x1362.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-1-1920x1277.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists gathered and marched to City Hall to make sure their voices are heard. \u003ccite>(Pancho Pescador)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead artists \u003ca href=\"https://www.instagram.com/withoutmyego/\" target=\"_blank\" rel=\"noopener noreferrer\">Desi Mundo\u003c/a> (founder of the \u003ca href=\"https://crpbayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Rejuvenation Project\u003c/a>) and \u003ca href=\"https://www.instagram.com/panchopescador/\" target=\"_blank\" rel=\"noopener noreferrer\">Pancho Pescador\u003c/a> began the project over a decade ago. The process was documented, from idea to outline. There were community conferences and government gatherings, as well as critiques and criticisms from neighbors who felt like the theme—people of color pushing for resistance against oppressive forces—didn’t represent their experience.\u003c/p>\n\u003cp>Nearby cultural centers were also included. At 14th Street and Alice Street, right across the street from the mural, is the Malonga Casquelourd Center, a hub for African drumming and dance performances. On the other side sits Hotel Oakland, a residential and cultural space for older Asian folks. Elements from the two centers—both the physical design of the buildings and faces of the people who’ve graced those grounds—were incorporated into the artwork.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The artists eventually created a mural covering four large walls of a sizable parking lot. But as the paint dried and the \u003ca href=\"https://www.kqed.org/arts/10139706/oaklands-newest-mural\" target=\"_blank\" rel=\"noopener noreferrer\">ribbon was cut in\u003c/a> August of 2014, a new development was being planned on that very spot.\u003c/p>\n\u003cfigure id=\"attachment_13906005\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Alice-Street-3-800x553.jpeg\" alt=\"Performers playing instruments inside of Hotel Oakland.\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1020x705.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1536x1061.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-2048x1415.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Alice-Street-3-1920x1326.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers play instruments inside of Hotel Oakland. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m excited to highlight the artists and what’s happened since the documentary took place,” says film producer \u003ca href=\"https://linktr.ee/spenceriwilkinson\" target=\"_blank\" rel=\"noopener noreferrer\">Spencer Wilkinson.\u003c/a>\u003c/p>\n\u003cp>He says the two lead artists on the project will be present for a post-screening dialogue on Nov. 16. They’ll be joined by drummer \u003ca href=\"https://actaonline.org/profile/kiazi-malonga/\" target=\"_blank\" rel=\"noopener noreferrer\">Kiazi Malonga\u003c/a>, son of the late world-renown artist Malonga Casquelourd and head of the \u003ca href=\"https://www.actaonline.org/profile/fua-dia-congo/\" target=\"_blank\" rel=\"noopener noreferrer\">Fua Dia Congo\u003c/a> performance group, as well as musician and poet \u003ca href=\"https://destinymuhammad.net/home\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny Muhammad,\u003c/a> who is featured in the film asking the poignant question: “Is what’s coming better than what’s here?”\u003c/p>\n\u003cp>The film concludes with a note that individuals and community organizations such as the \u003ca href=\"https://www.ccedoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Coalition For Equitable Development (CCED)\u003c/a> have pushed for and received a set of community benefit agreements, which have led to more low-income housing, more parking—and, in addition to other agreements, they’ve been financially supported in the painting of a new mural.\u003c/p>\n\u003cfigure id=\"attachment_13906004\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/DK6dODsQ-800x640.jpeg\" alt=\"Drummers gather at a celebration for the new mural on 14th Street in Oakland.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-768x615.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-2048x1639.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/DK6dODsQ-1920x1537.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drummers gather at a celebration for the new mural on 14th Street in Oakland. \u003ccite>(Rudi Tcruz and Galex Tcruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple blocks down from the location of the site of the previous mural, on the side of the \u003ca href=\"https://greenlining.org/?gclid=CjwKCAiA1aiMBhAUEiwACw25MbNayyyBrFf0DTmTvP6XMoVjjDk6eJKLCYNgCPH7y_LpXVuc66ElURoCvyEQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Greenlining Institute\u003c/a>, now stands a new painting featuring some of the same artists as the previous piece, as well as the themes of housing justice, diversity and cultural arts.\u003c/p>\n\u003cp>As for the old mural, mummified by a new building? Maybe years, or decades from now it will see new light. But for now, all that’s visible are the names of the artists and the website where you can get more information about \u003ca href=\"https://www.alicestreetfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the film\u003c/a>—and the ongoing conversation about the arts, community and urban development.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Alice Street’ screens Tuesday, Nov. 16, at the New Parkway in Oakland. \u003ca href=\"https://www.youtube.com/watch?v=1lJRPZLuY9c\" target=\"_blank\" rel=\"noopener noreferrer\">Trailer here\u003c/a>, and \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/10159?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Judge Won’t Allow Mural at San Francisco School to Be Covered",
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"content": "\u003cp>The San Francisco school board violated state law when it voted to cover up a 1930s mural that critics said is racist and degrading in its depiction of Black and Native American people, a judge ruled Tuesday.\u003c/p>\n\u003cp>Superior Court Judge Anne-Christine Massullo said the board failed to conduct an environmental impact review before it voted in 2019 to cover up the sprawling mural at George Washington High School that depicts the life of George Washington.\u003c/p>\n\u003cp>The 1936 mural was painted by Victor Arnautoff, one of the foremost muralists in the San Francisco area during the Depression. In addition to depicting Washington as a soldier, surveyor and statesman, the 13-panel, 1,600-square-foot (149-square-meter) mural contains images of white pioneers standing over the body of a Native American and slaves working at Washington’s Mount Vernon estate in Virginia.\u003c/p>\n\u003cp>[aside postID='arts_13860237']New Deal scholars have argued that Arnautoff, a Russian-born communist and social critic, critically depicts unsavory aspects of American history in his work. But as early as the 1960s, some students at George Washington High School have argued that the mural’s imagery is offensive and racist.\u003c/p>\n\u003cp>Supporters argued it could play a role in educating people about America’s racist past and covering it up would be censoring art and history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The board first moved to paint over the entire mural but later decided to cover it with panels or curtains. The projected cost of the project has mushroomed to about $900,000.\u003c/p>\n\u003cp>In her ruling, Massullo said the board was required to order a California Environmental Quality Act review that included studying alternatives before making its decision.\u003c/p>\n\u003cp>“The hallmark of our system is that whether it concerns the President of the United States or a local school board, the rule of law — the process — is more important than the result,” Massullo said in her ruling.\u003c/p>\n\u003cp>She said “a result-oriented board was determined to take down all 13 panels” of the mural and ordered the board to set aside its votes.\u003c/p>\n\u003cp>“California as a matter of long-standing public policy places enormous value on its environmental and historical resources,” she wrote in her ruling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>District officials have told the press that they are reviewing the decision. \u003c/p>\n\n",
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"content": "\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/ICCD404_Philadelphia_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Philadelphia has a rich history of producing world-class dance talent, from virtuoso tap dancers LaVaughn Robinson and the Nicholas Brothers to the contemporary house and street dancers from \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a>, the longest running street dance theater company in the world.\u003c/p>\n\u003cp>And, like the signature Philly sound, the city has moves with soul.\u003c/p>\n\u003cp>“Philly has always been a very soulful town, and the dancers here have always danced a little different, with their own flavor,” says David Austin, a pioneering dancer in Philadelphia’s 1980s house scene who was drawn to its rhythmic music and freestyle dance styles with African diasporic and Latin influences. “We’re family when we were out at these clubs,” Austin adds. “There’s a connection that we share with one another that is really unique, and I think that’s why the house scene is so lasting.”\u003c/p>\n\u003cp>More than three decades later, Austin is part of a tight-knit, intergenerational community of house dancers, DJs and event producers in Philadelphia who have worked, amidst commercialization and club closures, to keep the original underground spirit of the scene alive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The Roots of Philly House\u003c/strong>\u003c/p>\n\u003cp>House culture has roots dating back to the late 1970s, when DJ Frankie Knuckles remixed funk, R&B and disco records at the Warehouse in Chicago’s South Side for largely Black and brown gay partygoers. The distinctive world of sound he spun at the late-night dance parties was so influential that the Warehouse is widely credited as the place that gave house its name.\u003c/p>\n\u003cp>“House—there is a message in the music about yourself, about spirituality, your relationship with people … it eliminates all that is wrong at that moment in the world, and can take us to that very special place,” says \u003ca href=\"https://funkypeopleonline.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Terry “Tee” Alford\u003c/a>, who with a crew of deejay friends and producers started a Sunday night house party at the Impulse Club in North Philly in 1988. By that time, Philly’s queer clubs were already hosting all-night dance parties in speakeasys and spaces like Second Story and Catacombs. Clubs like the Impulse introduced the culture to a whole new audience.\u003c/p>\n\u003cfigure id=\"attachment_13900197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900197\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg\" alt=\"Interior shot of mostly African American crowd dancing in a crowded club in the late 1980's.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg 1058w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Club Impulse in Philadelphia, PA. \u003ccite>(Christopher S. Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Philadelphia house was distinct from its harder-edged Chicago, Detroit and New York counterparts. The smooth, string-laden productions of Kenny Gamble and Leon Huff had set the tone for the city’s silky soul in the 1970s through their record label Philadelphia International, its house band MFSB, and the landmark hit “T.S.O.P. (The Sound of Philadelphia).” Even in other cities, early house DJs like Knuckles drew on Philly soul for their club sets, bringing Gamble & Huff’s aesthetic into house music throughout the 1980s.\u003c/p>\n\u003cp>By 1991, some of Philly’s best house dancers began starring on the TV show One House Street, hosted by street dancer Rennie Harris.\u003cbr>\nHarris had recently toured with the country’s first official hip-hop tour, the Fresh Festival, and when the television producers tapped him to host a dance show, he insisted on making it all house. “My whole thing was, this has to be what I’m into right now—nothing but the house underground,” says Harris, who recruited dancers in local clubs and beyond to appear on the weekly show. While the show was short-lived, it was watched widely. “We were killing Soul Train, we were killing MTV,” Harris adds.\u003c/p>\n\u003cp>“[House dance], the je ne sais quoi, it’s flowy, dynamic footwork patterns, the manipulation of time and space,” says Kyle “JustSole” Clark, who discovered and fell in love with the culture in the early 2000s. Today, he teaches the foundation, culture, and history of the scene as a dance educator at the University of the Arts in Philadelphia and as co-founder of \u003ca href=\"https://www.justsoledance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Just Sole! Street Dance Company\u003c/a>. “How [the pioneers] put the steps together—not just that they do the steps—that’s the inspiration I’m drawing from.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/7AsJrdf2r8ROdWuRmJNDTW\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Keeping the Culture Alive\u003c/strong>\u003c/p>\n\u003cp>In the decade before Clark came onto the scene, many of the original clubs in Philadelphia where house had thrived closed down. While some new clubs replaced them, many of these were lounge-style clubs, offering VIP sections and bottle service to reserved tables. Dance floors shrunk, and spaces for unapologetic self-expression and inclusivity began disappearing.\u003c/p>\n\u003cp>Then, DJs Lee Jones and Francisco Collazo founded the Sundae Party, one of the longest running house parties in Philadelphia. Over its 18-year history, the all-ages Sunday afternoon dance party has moved from club to club in Philadelphia and spilled into alleyways and outdoor venues, with both local and guest DJs including Rich Medina and Questlove keeping the soul of the scene.\u003c/p>\n\u003cfigure id=\"attachment_13900199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove-800x534.png\" alt=\"A close-up shot of two DJs; one of them has his headphones on.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove.png 1420w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">QuestLove djing at the Sundae Party, along with co-founder Lee Jones, on Sundae on June 2, 2013 in Philadelphia, PA. \u003ccite>(Kevin C. Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The number one rule of Sundae is if you’re not here to dance, go home,” says Jones. “And I think one thing that the dancers pride ourselves on is that we never break the cipher. What we broke was people standing around trying to videotape. I would call people out, like, ‘Get off the floor.’”\u003c/p>\n\u003cp>The first time Clark rolled up at a Sundae Party, it felt like home. “Young, old, Black, white, everything in between, everybody dancing and nobody is standing on the wall—it was community, it was love,” says Clark, who was a dance major at the University of the Arts at the time. But, he says, he received his real education in dance through what remained of the club scene, the Sundae Parties, and the battle culture.\u003c/p>\n\u003cp>Clark, along with his partner Dinita “Queen Dinita” Clark, soon became the first “house heads” to show up and the last to leave. They learned from and traded rounds with OGs like Moncell Durden, Fabian Ballantine, Shachon Conway Kasey, and others.\u003c/p>\n\u003cp>“In the beginning,” Clark says, “it was a little intimidating, but they would encourage me to share myself, like, ‘Hey, sis, I see you. What is it you have to say?’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"House Dance Tutorial, Philadelphia Style | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/aWkIGkPPfGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A Bridge to the New Generation\u003c/strong>\u003c/p>\n\u003cp>Today, the Clarks serve as a connector to the roots of Philly house for newer generations of dancers, who they push to get out of the studio and into the streets.\u003c/p>\n\u003cfigure id=\"attachment_13900195\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole-800x450.jpg\" alt=\"Ten members of Just Sole! Street Dance Theater face the camera and smile.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just Sole! Street Dance Theater. \u003ccite>(Courtesy of Just Sole! Street Dance Theater.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being that bridge, we carry that with great honor and respect, because that’s the way the people, our OGs, carried it—culture and community first,” says Dinita.\u003c/p>\n\u003cp>“When the kids come and say, ‘Yo, I didn’t even know I was looking for [this],’ that’s exactly how Dinita and I felt when we walked into the Philly house clubs for the first time,” says Clark. “These spaces, being the through line from the beginning of our relationship to our marriage, just shows how much of an impact house dance music and culture, here in Philly, has had on us.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watch members of Just Sole! and pioneers of Philadelphia’s house scene dance together at Sundae Party (the first one since the pandemic’s lockdown) at the Kensington artspace Sunflower Philly; at a cipher in front of the Rotunda; and getting down on Percy Street in South Philly.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/ICCD404_Philadelphia_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Philadelphia has a rich history of producing world-class dance talent, from virtuoso tap dancers LaVaughn Robinson and the Nicholas Brothers to the contemporary house and street dancers from \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a>, the longest running street dance theater company in the world.\u003c/p>\n\u003cp>And, like the signature Philly sound, the city has moves with soul.\u003c/p>\n\u003cp>“Philly has always been a very soulful town, and the dancers here have always danced a little different, with their own flavor,” says David Austin, a pioneering dancer in Philadelphia’s 1980s house scene who was drawn to its rhythmic music and freestyle dance styles with African diasporic and Latin influences. “We’re family when we were out at these clubs,” Austin adds. “There’s a connection that we share with one another that is really unique, and I think that’s why the house scene is so lasting.”\u003c/p>\n\u003cp>More than three decades later, Austin is part of a tight-knit, intergenerational community of house dancers, DJs and event producers in Philadelphia who have worked, amidst commercialization and club closures, to keep the original underground spirit of the scene alive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The Roots of Philly House\u003c/strong>\u003c/p>\n\u003cp>House culture has roots dating back to the late 1970s, when DJ Frankie Knuckles remixed funk, R&B and disco records at the Warehouse in Chicago’s South Side for largely Black and brown gay partygoers. The distinctive world of sound he spun at the late-night dance parties was so influential that the Warehouse is widely credited as the place that gave house its name.\u003c/p>\n\u003cp>“House—there is a message in the music about yourself, about spirituality, your relationship with people … it eliminates all that is wrong at that moment in the world, and can take us to that very special place,” says \u003ca href=\"https://funkypeopleonline.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Terry “Tee” Alford\u003c/a>, who with a crew of deejay friends and producers started a Sunday night house party at the Impulse Club in North Philly in 1988. By that time, Philly’s queer clubs were already hosting all-night dance parties in speakeasys and spaces like Second Story and Catacombs. Clubs like the Impulse introduced the culture to a whole new audience.\u003c/p>\n\u003cfigure id=\"attachment_13900197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900197\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg\" alt=\"Interior shot of mostly African American crowd dancing in a crowded club in the late 1980's.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Wide_Clubimpulse.jpg 1058w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Club Impulse in Philadelphia, PA. \u003ccite>(Christopher S. Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Philadelphia house was distinct from its harder-edged Chicago, Detroit and New York counterparts. The smooth, string-laden productions of Kenny Gamble and Leon Huff had set the tone for the city’s silky soul in the 1970s through their record label Philadelphia International, its house band MFSB, and the landmark hit “T.S.O.P. (The Sound of Philadelphia).” Even in other cities, early house DJs like Knuckles drew on Philly soul for their club sets, bringing Gamble & Huff’s aesthetic into house music throughout the 1980s.\u003c/p>\n\u003cp>By 1991, some of Philly’s best house dancers began starring on the TV show One House Street, hosted by street dancer Rennie Harris.\u003cbr>\nHarris had recently toured with the country’s first official hip-hop tour, the Fresh Festival, and when the television producers tapped him to host a dance show, he insisted on making it all house. “My whole thing was, this has to be what I’m into right now—nothing but the house underground,” says Harris, who recruited dancers in local clubs and beyond to appear on the weekly show. While the show was short-lived, it was watched widely. “We were killing Soul Train, we were killing MTV,” Harris adds.\u003c/p>\n\u003cp>“[House dance], the je ne sais quoi, it’s flowy, dynamic footwork patterns, the manipulation of time and space,” says Kyle “JustSole” Clark, who discovered and fell in love with the culture in the early 2000s. Today, he teaches the foundation, culture, and history of the scene as a dance educator at the University of the Arts in Philadelphia and as co-founder of \u003ca href=\"https://www.justsoledance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Just Sole! Street Dance Company\u003c/a>. “How [the pioneers] put the steps together—not just that they do the steps—that’s the inspiration I’m drawing from.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/7AsJrdf2r8ROdWuRmJNDTW\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Keeping the Culture Alive\u003c/strong>\u003c/p>\n\u003cp>In the decade before Clark came onto the scene, many of the original clubs in Philadelphia where house had thrived closed down. While some new clubs replaced them, many of these were lounge-style clubs, offering VIP sections and bottle service to reserved tables. Dance floors shrunk, and spaces for unapologetic self-expression and inclusivity began disappearing.\u003c/p>\n\u003cp>Then, DJs Lee Jones and Francisco Collazo founded the Sundae Party, one of the longest running house parties in Philadelphia. Over its 18-year history, the all-ages Sunday afternoon dance party has moved from club to club in Philadelphia and spilled into alleyways and outdoor venues, with both local and guest DJs including Rich Medina and Questlove keeping the soul of the scene.\u003c/p>\n\u003cfigure id=\"attachment_13900199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/QuestLove-800x534.png\" alt=\"A close-up shot of two DJs; one of them has his headphones on.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/QuestLove.png 1420w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">QuestLove djing at the Sundae Party, along with co-founder Lee Jones, on Sundae on June 2, 2013 in Philadelphia, PA. \u003ccite>(Kevin C. Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The number one rule of Sundae is if you’re not here to dance, go home,” says Jones. “And I think one thing that the dancers pride ourselves on is that we never break the cipher. What we broke was people standing around trying to videotape. I would call people out, like, ‘Get off the floor.’”\u003c/p>\n\u003cp>The first time Clark rolled up at a Sundae Party, it felt like home. “Young, old, Black, white, everything in between, everybody dancing and nobody is standing on the wall—it was community, it was love,” says Clark, who was a dance major at the University of the Arts at the time. But, he says, he received his real education in dance through what remained of the club scene, the Sundae Parties, and the battle culture.\u003c/p>\n\u003cp>Clark, along with his partner Dinita “Queen Dinita” Clark, soon became the first “house heads” to show up and the last to leave. They learned from and traded rounds with OGs like Moncell Durden, Fabian Ballantine, Shachon Conway Kasey, and others.\u003c/p>\n\u003cp>“In the beginning,” Clark says, “it was a little intimidating, but they would encourage me to share myself, like, ‘Hey, sis, I see you. What is it you have to say?’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"House Dance Tutorial, Philadelphia Style | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/aWkIGkPPfGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A Bridge to the New Generation\u003c/strong>\u003c/p>\n\u003cp>Today, the Clarks serve as a connector to the roots of Philly house for newer generations of dancers, who they push to get out of the studio and into the streets.\u003c/p>\n\u003cfigure id=\"attachment_13900195\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Justsole-800x450.jpg\" alt=\"Ten members of Just Sole! Street Dance Theater face the camera and smile.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Justsole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just Sole! Street Dance Theater. \u003ccite>(Courtesy of Just Sole! Street Dance Theater.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being that bridge, we carry that with great honor and respect, because that’s the way the people, our OGs, carried it—culture and community first,” says Dinita.\u003c/p>\n\u003cp>“When the kids come and say, ‘Yo, I didn’t even know I was looking for [this],’ that’s exactly how Dinita and I felt when we walked into the Philly house clubs for the first time,” says Clark. “These spaces, being the through line from the beginning of our relationship to our marriage, just shows how much of an impact house dance music and culture, here in Philly, has had on us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch members of Just Sole! and pioneers of Philadelphia’s house scene dance together at Sundae Party (the first one since the pandemic’s lockdown) at the Kensington artspace Sunflower Philly; at a cipher in front of the Rotunda; and getting down on Percy Street in South Philly.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editor’s note: This episode was filmed under strict guidelines due to the coronavirus pandemic. Safety parameters were followed to protect the health of the dancers and video production team.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/ICCD403B_Honolulu_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>When she was nine years old, Snowbird Puananiopaokalani Bento took the bus from downtown Honolulu to Plumeria Square in Kaimuki for hula class every Saturday morning. She’d pack her hula bag the night before and gladly sacrifice Saturday morning cartoons for an hour of dance with her first kumu hula, or hula instructor, Leimomi Ho. She never skipped a lesson.\u003c/p>\n\u003cp>“You know when you’re a kid and you’re in school, you know the subjects that really just pique your interest and you could do it all day long? Like a great book and you don’t want to put it down, you end up reading like crazy for two days straight? That was hula for me,” says Bento, who is now a kumu hula herself. She is teaching the next generation of dancers through her hālau hula (hula school) Ka Pā Hula O Ka Lei Lehua.\u003c/p>\n\u003cfigure id=\"attachment_13897912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/SALT-Group-Shot-2-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13897912 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/SALT-Group-Shot-2-1-800x450.jpg\" alt=\"Four hula dancers in traditional attire pose in front of a colorful mural.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SALT-Group-Shot-2-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SALT-Group-Shot-2-1-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SALT-Group-Shot-2-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SALT-Group-Shot-2-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SALT-Group-Shot-2-1-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SALT-Group-Shot-2-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right: Pilialoha Kamakea‐Young, Snowbird Bento, Diane Leinani Paloma, and Kilinoe Kimura in front of a mural at SALT at Kaka’ako in Honolulu, HI. \u003ccite>(Keli'i Grace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many Native Hawaiian practitioners like Bento, hula is far from just an extracurricular activity. Its origins are deeply spiritual and rooted in Hawai‘i’s creation stories and the history of Bento’s kūpuna (ancestors) before her. Driven by the mele (poetry), hula marries movement with spoken word to express stories about specific deities, people, places and events.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Modern styles of hula influenced by Western music and instrumentation may come to mind when people think of Honolulu, home to tourism hotspot Waikīkī, but there are also sacred dances that have been passed down through centuries of kumu hula like Bento who train to master the language, choreography and protocols. “I knew I could commit myself to it for my lifetime,” Bento says of hula. “It wasn’t just a trending thing for me.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/5zfYvd6gfjUjTVcQp11Ztv\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Born in 1975 in Pauoa Valley to a musical family, Bento grew up singing with her grandparents and parents in church and at home, with autoharp and ukulele constantly in her ear as they sang together after dinner on Sundays. Rhythms, beats and vocals came naturally to her.\u003c/p>\n\u003cp>But she also grew up during what is called the “Hawaiian Renaissance,” when many Native Hawaiian activists and leaders fought for the reinstitution of Hawaiian cultural values and practices. The movement countered a long history of Christian missionary influence and the United States’ forced takeover of the Hawaiian Kingdom in 1893, which led to Hawai‘i’s annexation as a territory and its eventual statehood. Starting in the 1960s, their efforts led to the revival of hula and the 1971 establishment of the Merrie Monarch Festival as a hula competition; the end of U.S. military test bombing on the island of Kaho‘olawe after protests in 1973; and the reinstitution of Hawaiian as an official language in 1978.\u003c/p>\n\u003cp>“I am a direct result of that generation,” says Bento. “My mom is almost full Hawaiian. But she faced some ridicule and hardship for dancing hula. She was told, ‘You cannot dance hula and go to church at the same time.’”\u003c/p>\n\u003cp>While attending Kamehameha Schools in this changed cultural landscape, Bento perfected her ‘ōlelo Hawai‘i (Hawaiian language), and through diligent study became a rising hula star under Kumu Hula Holoua Stender. In 2001, Stender selected her to compete as Miss Aloha Hula at the Merrie Monarch Festival, the most renowned hula event in the world. To this day, people still approach Bento to gush about her electric performance. For a time, Bento even took over her kumu’s hālau until eventually establishing her own in 2004, which came with a great responsibility to pass on his teachings.\u003c/p>\n\u003cfigure id=\"attachment_13897903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Snow-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897903\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Snow-1-800x450.jpg\" alt=\"Native Hawaiian woman is sitting down while playing a large wooden drum in front of the steps of Iolani Palace in Honolulu. HI.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Snow-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Snow-1-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Snow-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Snow-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Snow-1-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Snow-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kumu hula, or hula instructor, Snowbird Bento posing with her pahu (drum) in front of the steps of the Iolani Palace in Honolulu, HI. \u003ccite>(Keli'i Grace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diane Leinani Paloma, one of Bento’s students, danced alongside Bento in high school and watched her blossom into a kumu hula. “I would just describe Snow as the modern‐day Renaissance mana wahine—this bad ass, super‐charged woman—who knows her culture and how to cultivate culture in others,” she says.\u003c/p>\n\u003cp>Paloma has been dancing for over 35 years, but is now studying under Bento to become a ho‘opa‘a (chanter and musical accompanist to the dancers) through a process called ‘ūniki—rigorous training which culminates in a ceremony that tests the student’s knowledge of hula traditions. “Generally, the definition of ‘ūniki means to bind or to tie,” Bento says, “so an ‘’ūniki ceremony basically is to bind or to tie the knowledge of your teachers to you.”\u003c/p>\n\u003cp>Before one can train to become a ho’opa’a, they must first ‘ūniki as an ‘ōlapa, or skilled dancer. Only when both levels are completed can you be considered for training as a kumu hula. Bento went through the ‘ūniki process under her Kumu Hula Holoua Stender, who ‘ūniki‐ed under Keli’i Tau‘a. Tau‘a ‘ūniki-ed under Maiki Aiu Lake, who ‘ūniki-ed under Lokalia Montgomery—both very prominent figures in modern-day hula lineages who connect to a continuum of hula that spans centuries.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Hula How-To with Snowbird Bento | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/xCWhAwllo38?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Pilialoha Kamakea‐Young and Kilinoe Kimura are among the current cohort Bento is training to become ‘ōlapa. If it is safe to gather, their ‘ūniki ceremony will be held later this fall. “They represent to me the hope of where hula can continue to go and grow,” Bento says. Kamakea‐Young is a Hawaiian language teacher at Mid-Pacific Institute, and Kimura is a soon‐to‐be graduate of the University of Hawai‘i at Mānoa, with a major in Hawaiian studies and Hawaiian language. In stark contrast to previous generations, both are fluent in ‘ōlelo Hawai‘i.\u003c/p>\n\u003cp>In addition to her precise teaching of technical movement of the hands and feet, Bento cultivates a long view of hula that comes with a serious commitment to its continuance. “I’m putting those stories right into the hands of the Pilis and the Kilis of the group,” she says. “I’m saying to them, ‘This body of work will become yours. And you will train for the rest of your life to be able to share it with the next generations.’”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watch Kumu Snowbird Bento and members of her hālau dance in Honolulu at Pu’u ‘Ualaka’a State Park, SALT at Our Kaka’ako, and the historic Iolani Palace, the home of Hawai‘i’s last reigning monarchs. \u003cem>— Article by Lauren Kawana\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This episode was filmed under strict guidelines due to the coronavirus pandemic. Safety parameters were followed to protect the health of the dancers and video production team.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/ICCD403B_Honolulu_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>When she was nine years old, Snowbird Puananiopaokalani Bento took the bus from downtown Honolulu to Plumeria Square in Kaimuki for hula class every Saturday morning. She’d pack her hula bag the night before and gladly sacrifice Saturday morning cartoons for an hour of dance with her first kumu hula, or hula instructor, Leimomi Ho. She never skipped a lesson.\u003c/p>\n\u003cp>“You know when you’re a kid and you’re in school, you know the subjects that really just pique your interest and you could do it all day long? Like a great book and you don’t want to put it down, you end up reading like crazy for two days straight? That was hula for me,” says Bento, who is now a kumu hula herself. She is teaching the next generation of dancers through her hālau hula (hula school) Ka Pā Hula O Ka Lei Lehua.\u003c/p>\n\u003cfigure id=\"attachment_13897912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/SALT-Group-Shot-2-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13897912 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/SALT-Group-Shot-2-1-800x450.jpg\" alt=\"Four hula dancers in traditional attire pose in front of a colorful mural.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SALT-Group-Shot-2-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SALT-Group-Shot-2-1-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SALT-Group-Shot-2-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SALT-Group-Shot-2-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SALT-Group-Shot-2-1-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SALT-Group-Shot-2-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right: Pilialoha Kamakea‐Young, Snowbird Bento, Diane Leinani Paloma, and Kilinoe Kimura in front of a mural at SALT at Kaka’ako in Honolulu, HI. \u003ccite>(Keli'i Grace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many Native Hawaiian practitioners like Bento, hula is far from just an extracurricular activity. Its origins are deeply spiritual and rooted in Hawai‘i’s creation stories and the history of Bento’s kūpuna (ancestors) before her. Driven by the mele (poetry), hula marries movement with spoken word to express stories about specific deities, people, places and events.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Modern styles of hula influenced by Western music and instrumentation may come to mind when people think of Honolulu, home to tourism hotspot Waikīkī, but there are also sacred dances that have been passed down through centuries of kumu hula like Bento who train to master the language, choreography and protocols. “I knew I could commit myself to it for my lifetime,” Bento says of hula. “It wasn’t just a trending thing for me.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/5zfYvd6gfjUjTVcQp11Ztv\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Born in 1975 in Pauoa Valley to a musical family, Bento grew up singing with her grandparents and parents in church and at home, with autoharp and ukulele constantly in her ear as they sang together after dinner on Sundays. Rhythms, beats and vocals came naturally to her.\u003c/p>\n\u003cp>But she also grew up during what is called the “Hawaiian Renaissance,” when many Native Hawaiian activists and leaders fought for the reinstitution of Hawaiian cultural values and practices. The movement countered a long history of Christian missionary influence and the United States’ forced takeover of the Hawaiian Kingdom in 1893, which led to Hawai‘i’s annexation as a territory and its eventual statehood. Starting in the 1960s, their efforts led to the revival of hula and the 1971 establishment of the Merrie Monarch Festival as a hula competition; the end of U.S. military test bombing on the island of Kaho‘olawe after protests in 1973; and the reinstitution of Hawaiian as an official language in 1978.\u003c/p>\n\u003cp>“I am a direct result of that generation,” says Bento. “My mom is almost full Hawaiian. But she faced some ridicule and hardship for dancing hula. She was told, ‘You cannot dance hula and go to church at the same time.’”\u003c/p>\n\u003cp>While attending Kamehameha Schools in this changed cultural landscape, Bento perfected her ‘ōlelo Hawai‘i (Hawaiian language), and through diligent study became a rising hula star under Kumu Hula Holoua Stender. In 2001, Stender selected her to compete as Miss Aloha Hula at the Merrie Monarch Festival, the most renowned hula event in the world. To this day, people still approach Bento to gush about her electric performance. For a time, Bento even took over her kumu’s hālau until eventually establishing her own in 2004, which came with a great responsibility to pass on his teachings.\u003c/p>\n\u003cfigure id=\"attachment_13897903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Snow-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897903\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Snow-1-800x450.jpg\" alt=\"Native Hawaiian woman is sitting down while playing a large wooden drum in front of the steps of Iolani Palace in Honolulu. HI.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Snow-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Snow-1-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Snow-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Snow-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Snow-1-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Snow-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kumu hula, or hula instructor, Snowbird Bento posing with her pahu (drum) in front of the steps of the Iolani Palace in Honolulu, HI. \u003ccite>(Keli'i Grace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diane Leinani Paloma, one of Bento’s students, danced alongside Bento in high school and watched her blossom into a kumu hula. “I would just describe Snow as the modern‐day Renaissance mana wahine—this bad ass, super‐charged woman—who knows her culture and how to cultivate culture in others,” she says.\u003c/p>\n\u003cp>Paloma has been dancing for over 35 years, but is now studying under Bento to become a ho‘opa‘a (chanter and musical accompanist to the dancers) through a process called ‘ūniki—rigorous training which culminates in a ceremony that tests the student’s knowledge of hula traditions. “Generally, the definition of ‘ūniki means to bind or to tie,” Bento says, “so an ‘’ūniki ceremony basically is to bind or to tie the knowledge of your teachers to you.”\u003c/p>\n\u003cp>Before one can train to become a ho’opa’a, they must first ‘ūniki as an ‘ōlapa, or skilled dancer. Only when both levels are completed can you be considered for training as a kumu hula. Bento went through the ‘ūniki process under her Kumu Hula Holoua Stender, who ‘ūniki‐ed under Keli’i Tau‘a. Tau‘a ‘ūniki-ed under Maiki Aiu Lake, who ‘ūniki-ed under Lokalia Montgomery—both very prominent figures in modern-day hula lineages who connect to a continuum of hula that spans centuries.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Hula How-To with Snowbird Bento | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/xCWhAwllo38?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Pilialoha Kamakea‐Young and Kilinoe Kimura are among the current cohort Bento is training to become ‘ōlapa. If it is safe to gather, their ‘ūniki ceremony will be held later this fall. “They represent to me the hope of where hula can continue to go and grow,” Bento says. Kamakea‐Young is a Hawaiian language teacher at Mid-Pacific Institute, and Kimura is a soon‐to‐be graduate of the University of Hawai‘i at Mānoa, with a major in Hawaiian studies and Hawaiian language. In stark contrast to previous generations, both are fluent in ‘ōlelo Hawai‘i.\u003c/p>\n\u003cp>In addition to her precise teaching of technical movement of the hands and feet, Bento cultivates a long view of hula that comes with a serious commitment to its continuance. “I’m putting those stories right into the hands of the Pilis and the Kilis of the group,” she says. “I’m saying to them, ‘This body of work will become yours. And you will train for the rest of your life to be able to share it with the next generations.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch Kumu Snowbird Bento and members of her hālau dance in Honolulu at Pu’u ‘Ualaka’a State Park, SALT at Our Kaka’ako, and the historic Iolani Palace, the home of Hawai‘i’s last reigning monarchs. \u003cem>— Article by Lauren Kawana\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ok-but-what-is-solidarity",
"title": "OK, But... What Is Solidarity?",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>olidarity: it’s a loaded term. Convoluted and nuanced, very important in concept, definitely overused as an expression, and not always highlighted when practiced.\u003c/p>\n\u003cp>But the \u003cem>practice\u003c/em> of solidarity is a normal part of co-existing with each other. Right?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Solidarity has been on my mind a lot lately, especially in regard to violence, the Asian community, the African American community and policing.\u003c/p>\n\u003cp>Earlier this week, Congress passed \u003ca href=\"https://www.npr.org/2021/05/18/997847571/congress-passes-bill-to-counter-the-rise-in-anti-asian-hate-crimes\" target=\"_blank\" rel=\"noopener noreferrer\">the COVID-19 Hate Crimes Act\u003c/a>, a federal bill created to help further document and ultimately curb instances of anti-Asian hate crimes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The legislation passed with rare bipartisan support, a clear response to what \u003ca href=\"https://stopaapihate.org/national-report-through-march-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Stop AAPI Hate\u003c/a>‘s website shows as an increase in anti-Asian violence reported across the board—verbal, physical and online. The majority of the reports come from California, including the \u003ca href=\"https://www.npr.org/2021/05/05/994055360/man-arrested-in-san-francisco-stabbing-of-2-asian-women\" target=\"_blank\" rel=\"noopener noreferrer\">stabbing of two older Asian women in San Francisco\u003c/a> earlier this month.\u003c/p>\n\u003cp>But the details about hate crimes and they way they’re punished require nuance. A recent episode of \u003ca href=\"https://www.kqed.org/news/11872804/with-calls-to-stopaapihate-are-more-hate-crime-laws-the-solution\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay\u003c/a> podcast illustrates some issues with the current legal definition of “hate crimes”—that they’re an accessory to another charge, for example, and often hard to identify as a motive.\u003c/p>\n\u003cp>And about those motives: who are the perpetrators in each case, and what’s the reason for their actions? This has brought up discussions about violence manifesting as a \u003ca href=\"https://www.elle.com/culture/career-politics/a35635188/anti-asian-racism-history-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">form of white supremacy\u003c/a>, as well as the notion that African Americans are targeting Asians.\u003c/p>\n\u003cfigure id=\"attachment_13894382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Image-from-iOS-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2.jpg 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of demonstrators hold signs that say, “Stop Asian Hate” during a vigil and rally in San Francisco’s Chinatown on March 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I read a piece about the \u003ca href=\"https://www.vox.com/22321234/black-asian-american-tensions-solidarity-history\" target=\"_blank\" rel=\"noopener noreferrer\">historical division between the two groups\u003c/a>, revisited reports on the killing of Latasha Harlins and the death of Vincent Chin. I revisited \u003ca href=\"https://youtu.be/cDp38sltic8?t=365\" target=\"_blank\" rel=\"noopener noreferrer\">this quote\u003c/a> from the late Mike “Dream” Francisco about Southeast Asian folks getting into the same street life that Black and Brown folks find themselves in, because of similar struggles. I even thought back to my experience, and how the first person in my circle to die of violence was a middle-school friend named Norro, who was Cambodian.\u003c/p>\n\u003cp>Over the past two months I’ve participated in two panel discussions about violence in the community and kept tabs on the uptick in violence in inner-cities across America. In Oakland, where today the city counted its \u003ca href=\"https://www.eastbaytimes.com/2021/05/20/man-fatally-shot-in-east-oakland-41/\" target=\"_blank\" rel=\"noopener noreferrer\">53rd homicide\u003c/a> of the year, the issue of violence runs far deeper than any panel discussion can possibly dig.\u003c/p>\n\u003cp>Add to that the tug o’ war between those who believe in defunding police and those who say there should be an increase in police department funding, \u003ca href=\"https://oaklandside.org/2021/02/12/oakland-chinatown-policing-hate-crimes-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">specifically as a reaction to anti-Asian violence\u003c/a>. And of course, that intertwines with the topic of \u003ca href=\"https://www.kqed.org/arts/13896306/public-safety-for-asian-americans-starts-with-nurturing-our-communities\" target=\"_blank\" rel=\"noopener noreferrer\">other public safety resources\u003c/a> for community members.\u003c/p>\n\u003cp>Now you see why it’s a lot to think about.\u003c/p>\n\u003cp>But late last month, doing a little art in community made it all so simple.\u003c/p>\n\u003cfigure id=\"attachment_13897594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897594\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/DSC00207-800x535.jpg\" alt=\"Malik Seneferu works on a mural in Oakland's Chinatown.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malik Seneferu works on a mural in Oakland’s Chinatown. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>t Madison Park in Oakland’s Chinatown, I talked to artist \u003ca href=\"https://www.cececarpio.com/\">Cece Carpio\u003c/a> as she and my daughter painted what she described as a “diver being swallowed by a sea monster.”\u003c/p>\n\u003cp>Cece explained that she’s juggling a lot right now: her day job connecting people to resources during the pandemic through the City of San Francisco’s COVID relief task force, working through the planning stages of a new 100-foot mural that she’s set to paint later this year on the side of the Luggage Store gallery in San Francisco’s Tenderloin, and creating community events, like this one.\u003c/p>\n\u003cp>Cece worked along with Tommy Wong of \u003ca href=\"https://www.instagram.com/civicdesignstudio510/\" target=\"_blank\" rel=\"noopener noreferrer\">Civic Design Studio\u003c/a> and \u003ca href=\"https://www.instagram.com/goodgoodeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Good Good Eatz\u003c/a> to organize the \u003ca href=\"https://www.instagram.com/p/CNYcx0rBjws/\" target=\"_blank\" rel=\"noopener noreferrer\">Love And Protect: Community Mural Series.\u003c/a> They were also part of the dozen-plus professional artists painting alongside community members. This meant my daughter was throwing up paint with the likes of published illustrator \u003ca href=\"https://twitter.com/RobertTres\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Liu-Trujillo\u003c/a> and the first woman member of the Black Panther Party, \u003ca href=\"http://www.theblackwomanisgod.com/artists/jtlewis\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Tarika Lewis\u003c/a>.[aside postID='arts_13868732']\u003c/p>\n\u003cp>Backed by \u003ca href=\"https://linktr.ee/asians4blklives/\">Asians 4 Black Lives\u003c/a>,\u003ca href=\"https://www.instagram.com/curyj510/\"> CuryJ\u003c/a>, the \u003ca href=\"https://www.instagram.com/oakchinatowncoalition/\">Oakland Chinatown Coalition\u003c/a>,\u003ca href=\"https://www.instagram.com/trustyourstruggle/\"> Trust Your Struggle\u003c/a> and more community organizations, the event was focused on showing solidarity through visual arts.\u003c/p>\n\u003cp>The intention wasn’t just to heal those impacted by violence against members of the Asian community, but to also continue to \u003ca href=\"https://www.kqed.org/arts/13895462/in-oakland-building-black-and-asian-solidarity-at-the-street-level\" target=\"_blank\" rel=\"noopener noreferrer\">dispel the notion\u003c/a> that it’s a ‘Black versus Asian’ thing happening in the Bay Area, and across the nation, Cece said.\u003c/p>\n\u003cp>Emory Douglas, Black Panther Party Minister of Culture, was also at the park that day, and a few days later we discussed the idea of solidarity.\u003c/p>\n\u003cp>“It’s an ongoing process,” Douglas told me during a phone call.\u003c/p>\n\u003cp>Douglas grew up in community with Asian groups in the ’60s and ’70s. He used to shoot pool with the Red Guard in Chinatown, and when it was time to stand together for social justice issues, they did so. He says he’s clear on the historical context of Black solidarity with the Asian community. And he’s clear that former President Trump’s anti-Asian statements about the spread of COVID-19 have fanned the flames contributing to the rise in hate crimes over the past year.\u003c/p>\n\u003cp>Now, Emory Douglas is banking on the next generation to take the concept of solidarity a bit further.\u003c/p>\n\u003cp>“You have young people, very progressive people,” says Douglas, “who are becoming more aware and less culturally conditioned to ‘the tradition,’ and are living more in the context of solidarity. They’re transcending the idea of just thinking about themselves, and becoming aware of what’s going on in the real world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13897593\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_4976-2-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2.jpg 1344w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Sharing equal footing as racial solidarity during that weekend in Oakland’s Chinatown was the theme of intergenerational solidarity.\u003c/p>\n\u003cp>“It’s a real honor to show up when my elders, especially my mom, invites me to show up,” said Elokin Orton-Cheung, an herbalist who painted with their mother on the canvas next to my daughter and me.\u003c/p>\n\u003cp>Ming Mur-Ray, an artist and Elokin’s mother, told me she was surprised by the turnout. “I’m moved to see the seniors from Harrison Senior Housing came out and participated,” said Ming, noting that four out of eight members of the group she works with showed up.\u003c/p>\n\u003cp>For the residents of senior housing, a fear of simply walking down the sidewalk is warranted, given the street attacks on Asian elders. But participation in an anti-Asian violence event was clearly important enough to take the risk. “One person came back on Sunday, by herself,” said Ming. “Because she wrote a word wrong, so she painted it over and corrected it.”\u003c/p>\n\u003cfigure id=\"attachment_13897598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/SOlidarity.MAIN_-800x600.jpg\" alt=\"A collection of completed murals in Oakland's Chinatown. The murals, meant to be portable, are currently moving from location to location.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of completed murals in Oakland’s Chinatown. The murals, meant to be portable, are currently moving from location to location. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elokin explained that events like this build on years and of community organizing, but there’s something different when art is the focus. “We’ve been coming together for vigils and protests, and coming together for loss of life in our community, but coming together to celebrate—coming together for sacredness in Black and Asian communities—is really beautiful.”\u003c/p>\n\u003cp>That day in the park I watched San Francisco muralist \u003ca href=\"https://www.instagram.com/lileli82/\">Elaine Chu\u003c/a> paint one canvas, and TDK’s \u003ca href=\"https://www.instagram.com/agentdecoy/\" target=\"_blank\" rel=\"noopener noreferrer\">Spie \u003c/a>prep his aerosol cans for action on another. Not far from us, \u003ca href=\"https://www.instagram.com/karen_seneferu/\" target=\"_blank\" rel=\"noopener noreferrer\">Karen Seneferu\u003c/a> and \u003ca href=\"https://www.instagram.com/maliksart/\" target=\"_blank\" rel=\"noopener noreferrer\">Malik Seneferu\u003c/a> were already putting a regal shade of purple paint on a canvas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/theletterthi/\">Thitiwat Phromratanapongse \u003c/a>introduced himself as T and took a break from painting to pass me a towel. He’d overheard me joking that I was going to dip my daughter in Lake Merritt to wash her off—the paint she’d used to create her fictional sea monster and diver had also consumed her outfit.\u003c/p>\n\u003cp>A few people wore shirts that read “unity” in several different languages. Images of tigers and panthers were painted. In the middle of the labyrinth permanently marked on the park’s blacktop stood an altar.\u003c/p>\n\u003cp>Well, if this isn’t “solidarity,” what is?\u003c/p>\n\u003cfigure id=\"attachment_13897597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/DSC00247-800x535.jpg\" alt=\"Flowers and a small altar at the center of a Black and Asian solidarity event in Oakland's Chinatown.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers and a small altar at the center of a Black and Asian solidarity event in Oakland’s Chinatown. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>ust last week, the 6-foot by 6-foot canvases, about 17 of them, were mounted in various businesses in Old Oakland, many of them in old Swan’s Market. A significant place for the artwork, as Cece Carpio points out, that area was once a part of the old Chinatown.\u003c/p>\n\u003cp>“For me, solidarity is very simple,” Carpio explained recently. “It’s how we co-exist.” Bingo. Simply coexisting, and knowing that as a human, there are certain expectations for existence.\u003c/p>\n\u003cp>Cece elaborated: “What are common grounds? What are collective decisions? What is collective hope? And what is our collective experience?”\u003c/p>\n\u003cp>A series of questions that might lead to confusion, but ends with two specific thoughts: What is it we want to see collectively? And how do we work collaboratively, pursuing this vision of the world we want to live in?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Using our respective communities as an example, Cece said, “We have different languages, different cultures, we eat different food. But essentially, we come together. In the same way there are common race and class struggles, there are similarities. In our collective visions, our collective goal is to live in equity, to live in justice.”\u003c/p>\n\n",
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"title": "OK, But... What Is Solidarity? | KQED",
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"subhead": "Amidst Black and Asian tension, what does \"solidarity\" mean, exactly? A day spent with art yields answers.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>olidarity: it’s a loaded term. Convoluted and nuanced, very important in concept, definitely overused as an expression, and not always highlighted when practiced.\u003c/p>\n\u003cp>But the \u003cem>practice\u003c/em> of solidarity is a normal part of co-existing with each other. Right?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Solidarity has been on my mind a lot lately, especially in regard to violence, the Asian community, the African American community and policing.\u003c/p>\n\u003cp>Earlier this week, Congress passed \u003ca href=\"https://www.npr.org/2021/05/18/997847571/congress-passes-bill-to-counter-the-rise-in-anti-asian-hate-crimes\" target=\"_blank\" rel=\"noopener noreferrer\">the COVID-19 Hate Crimes Act\u003c/a>, a federal bill created to help further document and ultimately curb instances of anti-Asian hate crimes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The legislation passed with rare bipartisan support, a clear response to what \u003ca href=\"https://stopaapihate.org/national-report-through-march-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Stop AAPI Hate\u003c/a>‘s website shows as an increase in anti-Asian violence reported across the board—verbal, physical and online. The majority of the reports come from California, including the \u003ca href=\"https://www.npr.org/2021/05/05/994055360/man-arrested-in-san-francisco-stabbing-of-2-asian-women\" target=\"_blank\" rel=\"noopener noreferrer\">stabbing of two older Asian women in San Francisco\u003c/a> earlier this month.\u003c/p>\n\u003cp>But the details about hate crimes and they way they’re punished require nuance. A recent episode of \u003ca href=\"https://www.kqed.org/news/11872804/with-calls-to-stopaapihate-are-more-hate-crime-laws-the-solution\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay\u003c/a> podcast illustrates some issues with the current legal definition of “hate crimes”—that they’re an accessory to another charge, for example, and often hard to identify as a motive.\u003c/p>\n\u003cp>And about those motives: who are the perpetrators in each case, and what’s the reason for their actions? This has brought up discussions about violence manifesting as a \u003ca href=\"https://www.elle.com/culture/career-politics/a35635188/anti-asian-racism-history-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">form of white supremacy\u003c/a>, as well as the notion that African Americans are targeting Asians.\u003c/p>\n\u003cfigure id=\"attachment_13894382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Image-from-iOS-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2.jpg 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of demonstrators hold signs that say, “Stop Asian Hate” during a vigil and rally in San Francisco’s Chinatown on March 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I read a piece about the \u003ca href=\"https://www.vox.com/22321234/black-asian-american-tensions-solidarity-history\" target=\"_blank\" rel=\"noopener noreferrer\">historical division between the two groups\u003c/a>, revisited reports on the killing of Latasha Harlins and the death of Vincent Chin. I revisited \u003ca href=\"https://youtu.be/cDp38sltic8?t=365\" target=\"_blank\" rel=\"noopener noreferrer\">this quote\u003c/a> from the late Mike “Dream” Francisco about Southeast Asian folks getting into the same street life that Black and Brown folks find themselves in, because of similar struggles. I even thought back to my experience, and how the first person in my circle to die of violence was a middle-school friend named Norro, who was Cambodian.\u003c/p>\n\u003cp>Over the past two months I’ve participated in two panel discussions about violence in the community and kept tabs on the uptick in violence in inner-cities across America. In Oakland, where today the city counted its \u003ca href=\"https://www.eastbaytimes.com/2021/05/20/man-fatally-shot-in-east-oakland-41/\" target=\"_blank\" rel=\"noopener noreferrer\">53rd homicide\u003c/a> of the year, the issue of violence runs far deeper than any panel discussion can possibly dig.\u003c/p>\n\u003cp>Add to that the tug o’ war between those who believe in defunding police and those who say there should be an increase in police department funding, \u003ca href=\"https://oaklandside.org/2021/02/12/oakland-chinatown-policing-hate-crimes-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">specifically as a reaction to anti-Asian violence\u003c/a>. And of course, that intertwines with the topic of \u003ca href=\"https://www.kqed.org/arts/13896306/public-safety-for-asian-americans-starts-with-nurturing-our-communities\" target=\"_blank\" rel=\"noopener noreferrer\">other public safety resources\u003c/a> for community members.\u003c/p>\n\u003cp>Now you see why it’s a lot to think about.\u003c/p>\n\u003cp>But late last month, doing a little art in community made it all so simple.\u003c/p>\n\u003cfigure id=\"attachment_13897594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897594\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/DSC00207-800x535.jpg\" alt=\"Malik Seneferu works on a mural in Oakland's Chinatown.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malik Seneferu works on a mural in Oakland’s Chinatown. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>t Madison Park in Oakland’s Chinatown, I talked to artist \u003ca href=\"https://www.cececarpio.com/\">Cece Carpio\u003c/a> as she and my daughter painted what she described as a “diver being swallowed by a sea monster.”\u003c/p>\n\u003cp>Cece explained that she’s juggling a lot right now: her day job connecting people to resources during the pandemic through the City of San Francisco’s COVID relief task force, working through the planning stages of a new 100-foot mural that she’s set to paint later this year on the side of the Luggage Store gallery in San Francisco’s Tenderloin, and creating community events, like this one.\u003c/p>\n\u003cp>Cece worked along with Tommy Wong of \u003ca href=\"https://www.instagram.com/civicdesignstudio510/\" target=\"_blank\" rel=\"noopener noreferrer\">Civic Design Studio\u003c/a> and \u003ca href=\"https://www.instagram.com/goodgoodeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Good Good Eatz\u003c/a> to organize the \u003ca href=\"https://www.instagram.com/p/CNYcx0rBjws/\" target=\"_blank\" rel=\"noopener noreferrer\">Love And Protect: Community Mural Series.\u003c/a> They were also part of the dozen-plus professional artists painting alongside community members. This meant my daughter was throwing up paint with the likes of published illustrator \u003ca href=\"https://twitter.com/RobertTres\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Liu-Trujillo\u003c/a> and the first woman member of the Black Panther Party, \u003ca href=\"http://www.theblackwomanisgod.com/artists/jtlewis\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Tarika Lewis\u003c/a>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Backed by \u003ca href=\"https://linktr.ee/asians4blklives/\">Asians 4 Black Lives\u003c/a>,\u003ca href=\"https://www.instagram.com/curyj510/\"> CuryJ\u003c/a>, the \u003ca href=\"https://www.instagram.com/oakchinatowncoalition/\">Oakland Chinatown Coalition\u003c/a>,\u003ca href=\"https://www.instagram.com/trustyourstruggle/\"> Trust Your Struggle\u003c/a> and more community organizations, the event was focused on showing solidarity through visual arts.\u003c/p>\n\u003cp>The intention wasn’t just to heal those impacted by violence against members of the Asian community, but to also continue to \u003ca href=\"https://www.kqed.org/arts/13895462/in-oakland-building-black-and-asian-solidarity-at-the-street-level\" target=\"_blank\" rel=\"noopener noreferrer\">dispel the notion\u003c/a> that it’s a ‘Black versus Asian’ thing happening in the Bay Area, and across the nation, Cece said.\u003c/p>\n\u003cp>Emory Douglas, Black Panther Party Minister of Culture, was also at the park that day, and a few days later we discussed the idea of solidarity.\u003c/p>\n\u003cp>“It’s an ongoing process,” Douglas told me during a phone call.\u003c/p>\n\u003cp>Douglas grew up in community with Asian groups in the ’60s and ’70s. He used to shoot pool with the Red Guard in Chinatown, and when it was time to stand together for social justice issues, they did so. He says he’s clear on the historical context of Black solidarity with the Asian community. And he’s clear that former President Trump’s anti-Asian statements about the spread of COVID-19 have fanned the flames contributing to the rise in hate crimes over the past year.\u003c/p>\n\u003cp>Now, Emory Douglas is banking on the next generation to take the concept of solidarity a bit further.\u003c/p>\n\u003cp>“You have young people, very progressive people,” says Douglas, “who are becoming more aware and less culturally conditioned to ‘the tradition,’ and are living more in the context of solidarity. They’re transcending the idea of just thinking about themselves, and becoming aware of what’s going on in the real world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13897593\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_4976-2-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2.jpg 1344w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Sharing equal footing as racial solidarity during that weekend in Oakland’s Chinatown was the theme of intergenerational solidarity.\u003c/p>\n\u003cp>“It’s a real honor to show up when my elders, especially my mom, invites me to show up,” said Elokin Orton-Cheung, an herbalist who painted with their mother on the canvas next to my daughter and me.\u003c/p>\n\u003cp>Ming Mur-Ray, an artist and Elokin’s mother, told me she was surprised by the turnout. “I’m moved to see the seniors from Harrison Senior Housing came out and participated,” said Ming, noting that four out of eight members of the group she works with showed up.\u003c/p>\n\u003cp>For the residents of senior housing, a fear of simply walking down the sidewalk is warranted, given the street attacks on Asian elders. But participation in an anti-Asian violence event was clearly important enough to take the risk. “One person came back on Sunday, by herself,” said Ming. “Because she wrote a word wrong, so she painted it over and corrected it.”\u003c/p>\n\u003cfigure id=\"attachment_13897598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/SOlidarity.MAIN_-800x600.jpg\" alt=\"A collection of completed murals in Oakland's Chinatown. The murals, meant to be portable, are currently moving from location to location.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of completed murals in Oakland’s Chinatown. The murals, meant to be portable, are currently moving from location to location. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elokin explained that events like this build on years and of community organizing, but there’s something different when art is the focus. “We’ve been coming together for vigils and protests, and coming together for loss of life in our community, but coming together to celebrate—coming together for sacredness in Black and Asian communities—is really beautiful.”\u003c/p>\n\u003cp>That day in the park I watched San Francisco muralist \u003ca href=\"https://www.instagram.com/lileli82/\">Elaine Chu\u003c/a> paint one canvas, and TDK’s \u003ca href=\"https://www.instagram.com/agentdecoy/\" target=\"_blank\" rel=\"noopener noreferrer\">Spie \u003c/a>prep his aerosol cans for action on another. Not far from us, \u003ca href=\"https://www.instagram.com/karen_seneferu/\" target=\"_blank\" rel=\"noopener noreferrer\">Karen Seneferu\u003c/a> and \u003ca href=\"https://www.instagram.com/maliksart/\" target=\"_blank\" rel=\"noopener noreferrer\">Malik Seneferu\u003c/a> were already putting a regal shade of purple paint on a canvas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/theletterthi/\">Thitiwat Phromratanapongse \u003c/a>introduced himself as T and took a break from painting to pass me a towel. He’d overheard me joking that I was going to dip my daughter in Lake Merritt to wash her off—the paint she’d used to create her fictional sea monster and diver had also consumed her outfit.\u003c/p>\n\u003cp>A few people wore shirts that read “unity” in several different languages. Images of tigers and panthers were painted. In the middle of the labyrinth permanently marked on the park’s blacktop stood an altar.\u003c/p>\n\u003cp>Well, if this isn’t “solidarity,” what is?\u003c/p>\n\u003cfigure id=\"attachment_13897597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/DSC00247-800x535.jpg\" alt=\"Flowers and a small altar at the center of a Black and Asian solidarity event in Oakland's Chinatown.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers and a small altar at the center of a Black and Asian solidarity event in Oakland’s Chinatown. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>ust last week, the 6-foot by 6-foot canvases, about 17 of them, were mounted in various businesses in Old Oakland, many of them in old Swan’s Market. A significant place for the artwork, as Cece Carpio points out, that area was once a part of the old Chinatown.\u003c/p>\n\u003cp>“For me, solidarity is very simple,” Carpio explained recently. “It’s how we co-exist.” Bingo. Simply coexisting, and knowing that as a human, there are certain expectations for existence.\u003c/p>\n\u003cp>Cece elaborated: “What are common grounds? What are collective decisions? What is collective hope? And what is our collective experience?”\u003c/p>\n\u003cp>A series of questions that might lead to confusion, but ends with two specific thoughts: What is it we want to see collectively? And how do we work collaboratively, pursuing this vision of the world we want to live in?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Using our respective communities as an example, Cece said, “We have different languages, different cultures, we eat different food. But essentially, we come together. In the same way there are common race and class struggles, there are similarities. In our collective visions, our collective goal is to live in equity, to live in justice.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Work has begun on a new mural at the San Francisco LGBT Center. Artists \u003ca href=\"https://jmanuelcarmona.com/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Juan Manuel Carmona\u003c/a> and \u003ca href=\"https://simonmalvaez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Simón Malvaez\u003c/a> are in the process of painting \u003cem>Queeroes\u003c/em>—a tribute to LGBTQ+ heroes, both local and international. The artwork graces the center’s East-facing exterior wall, replacing \u003ca href=\"https://fnnch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fnnch\u003c/a>’s trio of honey bears that was \u003ca href=\"https://www.kqed.org/arts/13896515/honey-bear-mural-painted-over-by-sf-lgbt-center-artist-fnnch-responds\" target=\"_blank\" rel=\"noopener noreferrer\">removed in late April\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/CPEBGFGBl6o/\u003c/p>\n\u003cp>\u003cem>Queeroes\u003c/em> honors four figures from Bay Area LGBTQ+ history: Harvey Milk, Honey Mahogany, Juanita MORE! and Sister Roma of the Sisters of Perpetual Indulgence. It also features international icons including Freddie Mercury, Frida Kahlo, Marsha P. Johnson, Keith Haring, Chavela Vargas, James Baldwin, Sylvia Rivera and Willi Ninja. The piece incorporates the colors of the Progress Pride Flag.\u003c/p>\n\u003cp>Both Carmona and Malvaez identify as Latinx and queer, and say their work is impacted by their experiences as immigrants. On his website, Carmona says his work also reflects “the intersection of the LGBTQI and Latino communities of San Francisco.” Malvaez and Carmona finished a separate \u003ca href=\"https://www.instagram.com/p/COs6yWHBCdv/\" target=\"_blank\" rel=\"noopener noreferrer\">mural of Juanita MORE!\u003c/a> earlier this month at Alamo Square. That piece is part of \u003ca href=\"http://www.400divisadero.com/painted-gentlemen-murals/\" target=\"_blank\" rel=\"noopener noreferrer\">the Painted Gentlemen Project\u003c/a>—a series of artworks painted on plywood and affixed to a chainlink fence at 804 Steiner. The project is curated and managed by fnnch.\u003c/p>\n\u003cp>[aside postid='arts_13896327']The new LGBT Center mural follows a flurry of debate surrounding fnnch’s work and its broader impact on the city, which came to a boiling point last month. His honey bears—perceived by some as a symbol of gentrification—prompted a petition, an \u003ca href=\"https://www.instagram.com/p/CONzmTMhWRs/\" target=\"_blank\" rel=\"noopener noreferrer\">open letter\u003c/a> and several small protests at the mural’s Market Street intersection calling for its removal. Controversy was further stirred by fnnch identifying himself, during an on-camera confrontation, as an “immigrant” from Missouri. Protesters called for the center to employ lesser known, local, LGBTQ+-identifying artists to re-paint the wall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the launch video shared by the LGBT Center’s Instagram on Wednesday, Carmona and Malvaez expressed gratitude for the commission. “We feel very grateful to have this amazing opportunity to share our talent,” Malvaez said, “and have the power to raise our voices and celebrate who we are and who we represent.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/CPD1dXhN2fw/?utm_source=ig_web_copy_link\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Work has begun on a new mural at the San Francisco LGBT Center. Artists \u003ca href=\"https://jmanuelcarmona.com/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Juan Manuel Carmona\u003c/a> and \u003ca href=\"https://simonmalvaez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Simón Malvaez\u003c/a> are in the process of painting \u003cem>Queeroes\u003c/em>—a tribute to LGBTQ+ heroes, both local and international. The artwork graces the center’s East-facing exterior wall, replacing \u003ca href=\"https://fnnch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fnnch\u003c/a>’s trio of honey bears that was \u003ca href=\"https://www.kqed.org/arts/13896515/honey-bear-mural-painted-over-by-sf-lgbt-center-artist-fnnch-responds\" target=\"_blank\" rel=\"noopener noreferrer\">removed in late April\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Queeroes\u003c/em> honors four figures from Bay Area LGBTQ+ history: Harvey Milk, Honey Mahogany, Juanita MORE! and Sister Roma of the Sisters of Perpetual Indulgence. It also features international icons including Freddie Mercury, Frida Kahlo, Marsha P. Johnson, Keith Haring, Chavela Vargas, James Baldwin, Sylvia Rivera and Willi Ninja. The piece incorporates the colors of the Progress Pride Flag.\u003c/p>\n\u003cp>Both Carmona and Malvaez identify as Latinx and queer, and say their work is impacted by their experiences as immigrants. On his website, Carmona says his work also reflects “the intersection of the LGBTQI and Latino communities of San Francisco.” Malvaez and Carmona finished a separate \u003ca href=\"https://www.instagram.com/p/COs6yWHBCdv/\" target=\"_blank\" rel=\"noopener noreferrer\">mural of Juanita MORE!\u003c/a> earlier this month at Alamo Square. That piece is part of \u003ca href=\"http://www.400divisadero.com/painted-gentlemen-murals/\" target=\"_blank\" rel=\"noopener noreferrer\">the Painted Gentlemen Project\u003c/a>—a series of artworks painted on plywood and affixed to a chainlink fence at 804 Steiner. The project is curated and managed by fnnch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The new LGBT Center mural follows a flurry of debate surrounding fnnch’s work and its broader impact on the city, which came to a boiling point last month. His honey bears—perceived by some as a symbol of gentrification—prompted a petition, an \u003ca href=\"https://www.instagram.com/p/CONzmTMhWRs/\" target=\"_blank\" rel=\"noopener noreferrer\">open letter\u003c/a> and several small protests at the mural’s Market Street intersection calling for its removal. Controversy was further stirred by fnnch identifying himself, during an on-camera confrontation, as an “immigrant” from Missouri. Protesters called for the center to employ lesser known, local, LGBTQ+-identifying artists to re-paint the wall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Honey Bear Mural Painted Over By SF LGBT Center; Artist fnnch Responds",
"headTitle": "Honey Bear Mural Painted Over By SF LGBT Center; Artist fnnch Responds | KQED",
"content": "\u003cp>The San Francisco LGBT Center on Tuesday painted over a mural by the street artist \u003ca href=\"https://www.instagram.com/fnnch/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">fnnch\u003c/a> that had become a flashpoint in a \u003ca href=\"https://www.kqed.org/arts/13896327/fnnch-honey-bears-street-art-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">heated debate\u003c/a> about representation and gentrification in San Francisco.\u003c/p>\n\u003cp>Installed in June 2020, the mural had for the past 10 months showed three of fnnch’s trademark honey bears facing a busy Market Street intersection on the center’s large purple building. \u003c/p>\n\u003cp>In a \u003ca href=\"https://www.instagram.com/p/COOiCRrhVjy/\" rel=\"noopener noreferrer\" target=\"_blank\">statement\u003c/a> issued Wednesday afternoon, the center cited a planned annual rotation of murals on the East-facing wall (prominently on view from the 101-N Octavia Street exit), but also acknowledged “the fact that fnnch has engendered a host of opinions and that some of his recent comments about being an immigrant have brought pain to many members of our community.” The statement emphasized “the Center does not agree with fnnch’s recent comments, and we have shared our concerns about the impact of his comments directly with him.”\u003c/p>\n\u003cp>[aside postID='arts_13896327']In a confrontation \u003ca href=\"https://www.instagram.com/p/CN-qwbvBoIR/\" rel=\"noopener noreferrer\" target=\"_blank\">uploaded last week\u003c/a> to Instagram by street artist DoggTown Dro and filmed outside the LGBT Center, fnnch, who is white and straight, identified himself as an “immigrant” from Missouri. The footage fed a flurry of social media activity as users voiced their opinions for and against fnnch’s work, which has proliferated widely across the city in the past year in the form of paper honey bears installed in home windows.\u003c/p>\n\u003cp>“I have been creating Pride art and donating to LGBT charities as long as I’ve been creating street art,” fnnch said in a statement provided to KQED, noting that 2020 held special importance to him as the 25th anniversary of his uncle’s death from AIDS. fnnch said the design of the three honey bears, painted in the colors of the Progress Pride Flag, the Bi Flag and the Trans Flag, was created in consultation with the LGBT Center. He also noted he “helped fundraise over $20k for the Center through T-shirt sales, painting donations, and my partnership with Humphrey Slocombe.” He did not the address the recent confrontation or social media criticism of his work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mural project “was already an idea the Center had conceptualized” before June of last year, Danielle Siragusa, the LGBT Center’s director of development and communications told KQED in an email. “As we were beginning to put an implementation plan in place, we were approached by fnnch at the beginning of shelter-in-place who offered to do the mural cost-free for us. We then decided this would be a great fit to be the inaugural mural to kick off the annual rotating mural project.”\u003c/p>\n\u003cfigure id=\"attachment_13896549\" class=\"wp-caption aligncenter\" style=\"max-width: 503px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/muraldeface.jpg\" alt=\"A mural of honey bears by street artist fnnch is defaced on the side of the SF LGBT Center.\" width=\"503\" height=\"400\" class=\"size-full wp-image-13896549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/muraldeface.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/muraldeface-160x127.jpg 160w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003cfigcaption class=\"wp-caption-text\">A mural of honey bears by street artist fnnch is defaced on the side of the SF LGBT Center. \u003ccite>(Twitter/@Tosa_Dad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over time, though, the fnnch mural became the site of contrasting visions of San Francisco. It was both a background in \u003ca href=\"https://www.instagram.com/p/CDMSmUopxOn/\" rel=\"noopener noreferrer\" target=\"_blank\">photo ops for local leaders\u003c/a> and the repeated target of graffiti, with San Francisco street artists focusing on the honey bears as a symbol of gentrification. Before it was painted fully white on Tuesday, messages written across the mural read “Dissolve the Honey Bear” and “Learn Our Culture B4 U Wreck It.”\u003c/p>\n\u003cp>When asked how the controversy over the LGBT Center mural might change the way he approaches future projects, fnnch wrote in an email, “I am still learning from this experience. The clearest learning so far is to collaborate with artists from the communities I hope to uplift.”\u003c/p>\n\u003cp>An \u003ca href=\"https://www.instagram.com/p/CONzmTMhWRs/\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> to the LGBT Center, written by “members of the native SF community and those fighting to preserve it” and distributed by hand during a Wednesday afternoon gathering across from the site of the fnnch mural, called for the center to “reevaluate who you choose to represent the city you service.” \u003c/p>\n\u003cp>As part of yesterday’s statement, the LGBT Center added that the next set of artists have been selected (a yet-unnamed collaborative duo) and that “they are both members of the LGBTQ+ and BIPOC community.” Their mural is scheduled to be unveiled in June for Pride month. The center also plans to hold open applications for future murals. “Our goal is to showcase a variety of perspectives, art and artists representing our diverse communities,” the statement reads.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read fnnch’s full statement provided to KQED below. \u003c/p>\n\u003cblockquote>\u003cp>A year ago I brainstormed with my publicist, a community leader in the LGBT community, how we could celebrate the 50th anniversary of Pride. I have been creating Pride art and donating to LGBT charities as long as I’ve been creating street art, and last year was of particular importance to me as the 25th anniversary of my uncle’s death from AIDS. We decided that a mural was something people could enjoy in a socially distant fashion, and so he approached the SF LGBT Center, asking if we could paint one there. Their wall, like most walls, had sat empty for over 100 years, and while they had discussed the idea of a rotating mural there, they had no concrete plans to do one but were generally open to the idea. I worked with them on the design over the period of months and we settled on one that they not only approved but ran by members of their community. I painted it for free, donating my time, team and materials, and it was generally well received. Throughout the year, over 100 community leaders came out to take photos with it, including London Breed, Mark Leno, Deborah Walker, Sister Roma, Paul Henderson, and Clair Farley. I also helped fundraise over $20k for The Center through t-shirt sales, painting donations, and my partnership with Humphrey Slocombe. The plan was always to rotate the mural after a year. It has now been a year. I am thankful to the SF LGBT Center that they let me paint this mural, and I am proud to have helped kick off a program that will bring public artwork to this incredible mural wall.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco LGBT Center on Tuesday painted over a mural by the street artist \u003ca href=\"https://www.instagram.com/fnnch/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">fnnch\u003c/a> that had become a flashpoint in a \u003ca href=\"https://www.kqed.org/arts/13896327/fnnch-honey-bears-street-art-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">heated debate\u003c/a> about representation and gentrification in San Francisco.\u003c/p>\n\u003cp>Installed in June 2020, the mural had for the past 10 months showed three of fnnch’s trademark honey bears facing a busy Market Street intersection on the center’s large purple building. \u003c/p>\n\u003cp>In a \u003ca href=\"https://www.instagram.com/p/COOiCRrhVjy/\" rel=\"noopener noreferrer\" target=\"_blank\">statement\u003c/a> issued Wednesday afternoon, the center cited a planned annual rotation of murals on the East-facing wall (prominently on view from the 101-N Octavia Street exit), but also acknowledged “the fact that fnnch has engendered a host of opinions and that some of his recent comments about being an immigrant have brought pain to many members of our community.” The statement emphasized “the Center does not agree with fnnch’s recent comments, and we have shared our concerns about the impact of his comments directly with him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a confrontation \u003ca href=\"https://www.instagram.com/p/CN-qwbvBoIR/\" rel=\"noopener noreferrer\" target=\"_blank\">uploaded last week\u003c/a> to Instagram by street artist DoggTown Dro and filmed outside the LGBT Center, fnnch, who is white and straight, identified himself as an “immigrant” from Missouri. The footage fed a flurry of social media activity as users voiced their opinions for and against fnnch’s work, which has proliferated widely across the city in the past year in the form of paper honey bears installed in home windows.\u003c/p>\n\u003cp>“I have been creating Pride art and donating to LGBT charities as long as I’ve been creating street art,” fnnch said in a statement provided to KQED, noting that 2020 held special importance to him as the 25th anniversary of his uncle’s death from AIDS. fnnch said the design of the three honey bears, painted in the colors of the Progress Pride Flag, the Bi Flag and the Trans Flag, was created in consultation with the LGBT Center. He also noted he “helped fundraise over $20k for the Center through T-shirt sales, painting donations, and my partnership with Humphrey Slocombe.” He did not the address the recent confrontation or social media criticism of his work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mural project “was already an idea the Center had conceptualized” before June of last year, Danielle Siragusa, the LGBT Center’s director of development and communications told KQED in an email. “As we were beginning to put an implementation plan in place, we were approached by fnnch at the beginning of shelter-in-place who offered to do the mural cost-free for us. We then decided this would be a great fit to be the inaugural mural to kick off the annual rotating mural project.”\u003c/p>\n\u003cfigure id=\"attachment_13896549\" class=\"wp-caption aligncenter\" style=\"max-width: 503px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/muraldeface.jpg\" alt=\"A mural of honey bears by street artist fnnch is defaced on the side of the SF LGBT Center.\" width=\"503\" height=\"400\" class=\"size-full wp-image-13896549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/muraldeface.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/muraldeface-160x127.jpg 160w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003cfigcaption class=\"wp-caption-text\">A mural of honey bears by street artist fnnch is defaced on the side of the SF LGBT Center. \u003ccite>(Twitter/@Tosa_Dad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over time, though, the fnnch mural became the site of contrasting visions of San Francisco. It was both a background in \u003ca href=\"https://www.instagram.com/p/CDMSmUopxOn/\" rel=\"noopener noreferrer\" target=\"_blank\">photo ops for local leaders\u003c/a> and the repeated target of graffiti, with San Francisco street artists focusing on the honey bears as a symbol of gentrification. Before it was painted fully white on Tuesday, messages written across the mural read “Dissolve the Honey Bear” and “Learn Our Culture B4 U Wreck It.”\u003c/p>\n\u003cp>When asked how the controversy over the LGBT Center mural might change the way he approaches future projects, fnnch wrote in an email, “I am still learning from this experience. The clearest learning so far is to collaborate with artists from the communities I hope to uplift.”\u003c/p>\n\u003cp>An \u003ca href=\"https://www.instagram.com/p/CONzmTMhWRs/\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> to the LGBT Center, written by “members of the native SF community and those fighting to preserve it” and distributed by hand during a Wednesday afternoon gathering across from the site of the fnnch mural, called for the center to “reevaluate who you choose to represent the city you service.” \u003c/p>\n\u003cp>As part of yesterday’s statement, the LGBT Center added that the next set of artists have been selected (a yet-unnamed collaborative duo) and that “they are both members of the LGBTQ+ and BIPOC community.” Their mural is scheduled to be unveiled in June for Pride month. The center also plans to hold open applications for future murals. “Our goal is to showcase a variety of perspectives, art and artists representing our diverse communities,” the statement reads.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read fnnch’s full statement provided to KQED below. \u003c/p>\n\u003cblockquote>\u003cp>A year ago I brainstormed with my publicist, a community leader in the LGBT community, how we could celebrate the 50th anniversary of Pride. I have been creating Pride art and donating to LGBT charities as long as I’ve been creating street art, and last year was of particular importance to me as the 25th anniversary of my uncle’s death from AIDS. We decided that a mural was something people could enjoy in a socially distant fashion, and so he approached the SF LGBT Center, asking if we could paint one there. Their wall, like most walls, had sat empty for over 100 years, and while they had discussed the idea of a rotating mural there, they had no concrete plans to do one but were generally open to the idea. I worked with them on the design over the period of months and we settled on one that they not only approved but ran by members of their community. I painted it for free, donating my time, team and materials, and it was generally well received. Throughout the year, over 100 community leaders came out to take photos with it, including London Breed, Mark Leno, Deborah Walker, Sister Roma, Paul Henderson, and Clair Farley. I also helped fundraise over $20k for The Center through t-shirt sales, painting donations, and my partnership with Humphrey Slocombe. The plan was always to rotate the mural after a year. It has now been a year. I am thankful to the SF LGBT Center that they let me paint this mural, and I am proud to have helped kick off a program that will bring public artwork to this incredible mural wall.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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