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"slug": "reclaiming-the-legacy-of-oaklands-boogaloo-dance-culture",
"title": "Reclaiming the Legacy of Oakland’s Boogaloo Dance Culture",
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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--8Kh9ohLGAYIVzVb-TKwEAxER\" 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. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ICCD401_Oakland_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English Transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Will Randolph was just eight years old when he witnessed something that would change his life forever.\u003c/p>\n\u003cp>The young East Oakland resident was at a New Years’ Eve party thrown by the Pointer Sisters, his neighbors at the time, marveling at two teenagers moving in an animated fashion, craning their necks and striking poses. Randolph remembers thinking to himself: “What in the world is that?”\u003c/p>\n\u003cp>That night launched a six decade-long love affair with boogaloo, a dance form invented by African American youth in Oakland. Taking inspiration from James Brown, the Temptations, Charlie Chaplin, cartoon characters, and sci-fi robots, boogaloo innovators created a repertoire of original moves like the “Dime Stop,” the “Hit,” the “Mack Pose,” and the “Ditallion.” San Francisco and Richmond soon developed variants of boogaloo, respectively known as strutting and robottin’.\u003c/p>\n\u003cfigure id=\"attachment_13891301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891301 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-800x949.jpg\" alt=\"The Black Resurgents form a semi circle around TV host Jay Patton and post for a photo\" width=\"800\" height=\"949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-800x949.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-1020x1210.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-768x911.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-1295x1536.jpg 1295w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-1726x2048.jpg 1726w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140.jpg 1888w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Black Resurgents back stage on the Jay Payton Show, a music and dance variety \u003ccite>(Courtesy William Randolph, The Black Resurgents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, these techniques are collectively known in the world of hip-hop dance as “the funk styles,” owing to their development during the funk era. As dance historian Traci Bartlow notes, boogaloo preceded the emergence of hip-hop culture, whose name “was not even thought of for another 10 years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But despite its pioneering status, boogaloo’s cultural contributions are little-known outside of Bay Area dance circles. That’s why, for the past 20 years, Randolph and other veteran boogaloos have spread the word in an attempt to revive boogaloo, maintain its cultural traditions, and pass them on to a new generation–bridging the gap between boogaloo, pop-locking and contemporary dance forms like turf dancing.\u003c/p>\n\u003cp>“Turfing in the millennium,” Randolph says, “is what boogaloo was in the ’70s.”\u003c/p>\n\u003cp>Randolph’s stories of boogaloo’s evolution and development have a folkloric, even legendary, quality. In 1971, while urban renewal and white flight were underway and East Oakland’s population rapidly became predominantly African American, he and a handful of his classmates at Elmhurst Junior High began entering talent show competitions. Inspired by the Black Panthers and the social justice movements of the post-civil rights era, they named themselves the Black Resurgents.\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/3KXUkne9GxQi43KSpN3Lo5\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Throughout the 1970s, boogaloo became the preeminent form of African American youth culture in Oakland. Numerous boogaloo groups formed in the East, including the Black Resurgents and their chief rivals, the Black Messengers. Castlemont High School and Arroyo Park became centers for group competitions. Boogaloo culture also spread to West Oakland, where groups like S.S. Enterprise and Derrick and Company held forth at McClymonds High School and Mosswood Park. (Talent shows at the Oakland Auditorium, centrally situated near Lake Merritt, became a place where dancers from both East and West Oakland converged.)\u003c/p>\n\u003cp>Bartlow, Randolph’s former neighbor, recalls watching the Black Resurgents practice at his home on 96th Ave. and Sunnyside—a formative experience which inspired her to become a dance student and cultural historian. Boogaloo’s concurrent evolution with funk music, she says, resulted in an explosion of youthful expression that reverberated across the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13891302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-800x449.jpg\" alt=\"Traci Bartlow, wearing a beaded tank with the words "Boogaloo, Robbottin', Struttin'," poses for the camera. Her arms are linked with dancers on both sides, their backs turned to show the backs of their shirts that read "TURF Inc" on one and "1971" on the other\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-2048x1150.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-1920x1078.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow poses with dancers of The Black Resurgents and TURFinc \u003ccite>(Elie Khadra, KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bass stirred something deep in the souls of Bay Area youth. Talent shows with dances were common all over San Francisco, Oakland and of course, the legendary Richmond Auditorium.”\u003c/p>\n\u003cp>Boogaloo, she says, was seemingly everywhere: “On the blocks, in the recreation centers, the courtyard at public schools. Or even in living rooms with the furniture pushed back. Dancers were blasting funk music and working out free-form body movements that had complex rhythms, visual illusions and robotic moves.”\u003c/p>\n\u003cp>“We were just a bunch of poor kids that didn’t have a lot of money but had massive imaginations,” explains William “Boogaloo Bill” Bilal, a founding member of S.S. Enterprise and a practitioner of the West Oakland style of boogaloo.\u003c/p>\n\u003cp>Boogaloo’s popularity declined in the mid-’80s, when hip-hop emerged and breakdancing briefly became a national trend. The Bay Area’s boogaloo dancers had begun to age out, and with limited career opportunities compared to their counterparts in New York and Los Angeles, the artform became obscured. “It was all but left for dead on the road,” says Bilal.\u003c/p>\n\u003cfigure id=\"attachment_13891344\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BoogalooBill_McClymonds2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891344 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-800x450.jpg\" alt=\"William Bilal, a.k.a. Boogaloo Bill, dances outside McClymonds High School in West Oakland\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2.jpg 1703w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">William Bilal, a.k.a. Boogaloo Bill, dances outside McClymonds High School in West Oakland \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But boogaloo never truly died. Its movement vocabulary was adopted—some say appropriated—into the Southern California dance known as locking, eventually widely recognized as pop-locking, which itself became part of hip-hop dance’s canon. Then, in the late ’90s and early 2000s, turf dancing emerged from the same Oakland streets which had birthed the funk boogaloo 30 years earlier.\u003c/p>\n\u003cp>Turfing shares much in common with boogaloo: it’s highly interpretive and improvisational, and varies stylistically from neighborhood to neighborhood. Unknowingly, turfers adapted many boogaloo movements without being aware of their origin.\u003cbr>\n“People need to know where the foundation comes from,” says Johnny “Johnny 5” Lopez, founder of TURFinc. “I just feel like boogaloo started almost everything there is about dancing.”\u003c/p>\n\u003cp>In recent years, turfing and boogaloo have occasionally shared the same stage at TURFinc’s “all styles” events (which have also incorporated breaking and freestyle dance) and at the Oakland Museum of California. Randolph and fellow veterans like “OG Mike” Predovic of the Boogaloo Conservatory have become mentors to turfers like Lopez and Levi “iDummy” Allen.\u003c/p>\n\u003cp>In 2000, Randolph founded the BRS Alliance (the acronym stands for Boogaloo, Robottin’, Strutting) with Richmond’s Ralph “Plik Plok” Montejo and San Francisco’s Lonnie “Pop Tart” Green. Together with Bilal’s Original Boogaloo Movement and numerous Facebook groups, they’ve created a growing online presence and produce an annual “Original Boogaloo Reunion Barbeque” at Oakland’s Shoreline Middle Harbor Park since 2011.\u003c/p>\n\u003cfigure id=\"attachment_13891315\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/harrybarry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891315 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/harrybarry-800x450.jpg\" alt=\"Harry Berry, a.k.a. The Legendary Frisco Popper, at one of the Original Boogaloo Reunion BBQ\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Berry, a.k.a. The Legendary Frisco Popper, at one of the Original Boogaloo Reunion BBQ \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The boogaloo BBQ has not only become a place where veteran dancers interact and relive their glory years, but also a stomping ground for turfers and young dance students who have developed an interest in learning one of the original styles of street dance. Although 2020’s event was cancelled due to COVID, prior years have been graced by legendary boogaloos like Larry Thompson of Pirate and the Easy Walkers; Fayzo and Boogaloo Dana of Demons of the Mind; Darrin “Dub” Hodges of Gentlemen of Production; Kerney Myers, John Murphy, and Chuck Powell of the Black Messengers; and Money B of Playboyz Inc.—along with dance enthusiasts like Agatha “Agatron” Rupniewski of Mix’d Elements.\u003c/p>\n\u003cp>For his part, Randolph is hoping that the upcoming 50th anniversary of the Black Resurgents in November 2021 will be a flashpoint for the culture.\u003c/p>\n\u003cp>But the pandemic and painful loss have thrown the future of live events into question, and the culture is beginning to lose many of its OGs. Randolph’s brother, E. Vic Randolph “The Crowd Pleaser,” passed away not long after he was filmed for this \u003cem>If Cities Could Dance\u003c/em> episode, and other recent deaths of veteran dancers “Boogaloo Dan” Hodges, Harry Berry, and Dan “Reo Robot” Moore have shaken the boogaloo community to its core.\u003c/p>\n\u003cp>Even more chillingly, the name boogaloo has been co-opted by a violent extremist group called the “Boogaloo Bois” who have been linked to murders in Oakland and Santa Cruz and riots in Minneapolis. “We all started hearing about the so-called boogaloo bois creating chaos right here in the Town,” says the Resurgents’ Ricky Wilson Gantt. “I had a gamut of emotions when I heard that,” says Bilal, adding “if [the boogaloo bois] really and truly understood what the definition of boogaloo is, they never would have chosen it as a name in the first place.” He notes that the word ‘boogaloo’ has been part of the African American vernacular for decades, and traces its roots back to slavery.\u003c/p>\n\u003cp>Though national media has overlooked the boogaloo dancers and their history, the true boogaloo believers remain committed to their cause.\u003c/p>\n\u003cp>”There is a notion in our community,” Randolph concludes,” that we have to protect the art form’s name, that we have to protect the culture. This culture did not destroy lives. It saves lives.” \u003cem>— Text by Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-oakland/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>In a previous post we incorrectly introduced E. Vic Randolph “The Crowd Pleaser.” His family informed us that Vic passed away due to heart failure caused by hypertension, not COVID-19 as previously stated.\u003c/em>\u003c/p>\n\n",
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"headline": "Reclaiming the Legacy of Oakland’s Boogaloo Dance Culture",
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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--8Kh9ohLGAYIVzVb-TKwEAxER\" 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. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ICCD401_Oakland_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Download English Transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Will Randolph was just eight years old when he witnessed something that would change his life forever.\u003c/p>\n\u003cp>The young East Oakland resident was at a New Years’ Eve party thrown by the Pointer Sisters, his neighbors at the time, marveling at two teenagers moving in an animated fashion, craning their necks and striking poses. Randolph remembers thinking to himself: “What in the world is that?”\u003c/p>\n\u003cp>That night launched a six decade-long love affair with boogaloo, a dance form invented by African American youth in Oakland. Taking inspiration from James Brown, the Temptations, Charlie Chaplin, cartoon characters, and sci-fi robots, boogaloo innovators created a repertoire of original moves like the “Dime Stop,” the “Hit,” the “Mack Pose,” and the “Ditallion.” San Francisco and Richmond soon developed variants of boogaloo, respectively known as strutting and robottin’.\u003c/p>\n\u003cfigure id=\"attachment_13891301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891301 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-800x949.jpg\" alt=\"The Black Resurgents form a semi circle around TV host Jay Patton and post for a photo\" width=\"800\" height=\"949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-800x949.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-1020x1210.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-768x911.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-1295x1536.jpg 1295w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140-1726x2048.jpg 1726w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BRS_Posters_Jay_Payton-scaled-e1610693156140.jpg 1888w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Black Resurgents back stage on the Jay Payton Show, a music and dance variety \u003ccite>(Courtesy William Randolph, The Black Resurgents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, these techniques are collectively known in the world of hip-hop dance as “the funk styles,” owing to their development during the funk era. As dance historian Traci Bartlow notes, boogaloo preceded the emergence of hip-hop culture, whose name “was not even thought of for another 10 years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But despite its pioneering status, boogaloo’s cultural contributions are little-known outside of Bay Area dance circles. That’s why, for the past 20 years, Randolph and other veteran boogaloos have spread the word in an attempt to revive boogaloo, maintain its cultural traditions, and pass them on to a new generation–bridging the gap between boogaloo, pop-locking and contemporary dance forms like turf dancing.\u003c/p>\n\u003cp>“Turfing in the millennium,” Randolph says, “is what boogaloo was in the ’70s.”\u003c/p>\n\u003cp>Randolph’s stories of boogaloo’s evolution and development have a folkloric, even legendary, quality. In 1971, while urban renewal and white flight were underway and East Oakland’s population rapidly became predominantly African American, he and a handful of his classmates at Elmhurst Junior High began entering talent show competitions. Inspired by the Black Panthers and the social justice movements of the post-civil rights era, they named themselves the Black Resurgents.\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/3KXUkne9GxQi43KSpN3Lo5\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Throughout the 1970s, boogaloo became the preeminent form of African American youth culture in Oakland. Numerous boogaloo groups formed in the East, including the Black Resurgents and their chief rivals, the Black Messengers. Castlemont High School and Arroyo Park became centers for group competitions. Boogaloo culture also spread to West Oakland, where groups like S.S. Enterprise and Derrick and Company held forth at McClymonds High School and Mosswood Park. (Talent shows at the Oakland Auditorium, centrally situated near Lake Merritt, became a place where dancers from both East and West Oakland converged.)\u003c/p>\n\u003cp>Bartlow, Randolph’s former neighbor, recalls watching the Black Resurgents practice at his home on 96th Ave. and Sunnyside—a formative experience which inspired her to become a dance student and cultural historian. Boogaloo’s concurrent evolution with funk music, she says, resulted in an explosion of youthful expression that reverberated across the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13891302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-800x449.jpg\" alt=\"Traci Bartlow, wearing a beaded tank with the words "Boogaloo, Robbottin', Struttin'," poses for the camera. Her arms are linked with dancers on both sides, their backs turned to show the backs of their shirts that read "TURF Inc" on one and "1971" on the other\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-2048x1150.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-12-at-12.58.40-PM-2-1920x1078.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow poses with dancers of The Black Resurgents and TURFinc \u003ccite>(Elie Khadra, KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bass stirred something deep in the souls of Bay Area youth. Talent shows with dances were common all over San Francisco, Oakland and of course, the legendary Richmond Auditorium.”\u003c/p>\n\u003cp>Boogaloo, she says, was seemingly everywhere: “On the blocks, in the recreation centers, the courtyard at public schools. Or even in living rooms with the furniture pushed back. Dancers were blasting funk music and working out free-form body movements that had complex rhythms, visual illusions and robotic moves.”\u003c/p>\n\u003cp>“We were just a bunch of poor kids that didn’t have a lot of money but had massive imaginations,” explains William “Boogaloo Bill” Bilal, a founding member of S.S. Enterprise and a practitioner of the West Oakland style of boogaloo.\u003c/p>\n\u003cp>Boogaloo’s popularity declined in the mid-’80s, when hip-hop emerged and breakdancing briefly became a national trend. The Bay Area’s boogaloo dancers had begun to age out, and with limited career opportunities compared to their counterparts in New York and Los Angeles, the artform became obscured. “It was all but left for dead on the road,” says Bilal.\u003c/p>\n\u003cfigure id=\"attachment_13891344\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BoogalooBill_McClymonds2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891344 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-800x450.jpg\" alt=\"William Bilal, a.k.a. Boogaloo Bill, dances outside McClymonds High School in West Oakland\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/BoogalooBill_McClymonds2.jpg 1703w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">William Bilal, a.k.a. Boogaloo Bill, dances outside McClymonds High School in West Oakland \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But boogaloo never truly died. Its movement vocabulary was adopted—some say appropriated—into the Southern California dance known as locking, eventually widely recognized as pop-locking, which itself became part of hip-hop dance’s canon. Then, in the late ’90s and early 2000s, turf dancing emerged from the same Oakland streets which had birthed the funk boogaloo 30 years earlier.\u003c/p>\n\u003cp>Turfing shares much in common with boogaloo: it’s highly interpretive and improvisational, and varies stylistically from neighborhood to neighborhood. Unknowingly, turfers adapted many boogaloo movements without being aware of their origin.\u003cbr>\n“People need to know where the foundation comes from,” says Johnny “Johnny 5” Lopez, founder of TURFinc. “I just feel like boogaloo started almost everything there is about dancing.”\u003c/p>\n\u003cp>In recent years, turfing and boogaloo have occasionally shared the same stage at TURFinc’s “all styles” events (which have also incorporated breaking and freestyle dance) and at the Oakland Museum of California. Randolph and fellow veterans like “OG Mike” Predovic of the Boogaloo Conservatory have become mentors to turfers like Lopez and Levi “iDummy” Allen.\u003c/p>\n\u003cp>In 2000, Randolph founded the BRS Alliance (the acronym stands for Boogaloo, Robottin’, Strutting) with Richmond’s Ralph “Plik Plok” Montejo and San Francisco’s Lonnie “Pop Tart” Green. Together with Bilal’s Original Boogaloo Movement and numerous Facebook groups, they’ve created a growing online presence and produce an annual “Original Boogaloo Reunion Barbeque” at Oakland’s Shoreline Middle Harbor Park since 2011.\u003c/p>\n\u003cfigure id=\"attachment_13891315\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/harrybarry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891315 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/harrybarry-800x450.jpg\" alt=\"Harry Berry, a.k.a. The Legendary Frisco Popper, at one of the Original Boogaloo Reunion BBQ\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/harrybarry.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Berry, a.k.a. The Legendary Frisco Popper, at one of the Original Boogaloo Reunion BBQ \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The boogaloo BBQ has not only become a place where veteran dancers interact and relive their glory years, but also a stomping ground for turfers and young dance students who have developed an interest in learning one of the original styles of street dance. Although 2020’s event was cancelled due to COVID, prior years have been graced by legendary boogaloos like Larry Thompson of Pirate and the Easy Walkers; Fayzo and Boogaloo Dana of Demons of the Mind; Darrin “Dub” Hodges of Gentlemen of Production; Kerney Myers, John Murphy, and Chuck Powell of the Black Messengers; and Money B of Playboyz Inc.—along with dance enthusiasts like Agatha “Agatron” Rupniewski of Mix’d Elements.\u003c/p>\n\u003cp>For his part, Randolph is hoping that the upcoming 50th anniversary of the Black Resurgents in November 2021 will be a flashpoint for the culture.\u003c/p>\n\u003cp>But the pandemic and painful loss have thrown the future of live events into question, and the culture is beginning to lose many of its OGs. Randolph’s brother, E. Vic Randolph “The Crowd Pleaser,” passed away not long after he was filmed for this \u003cem>If Cities Could Dance\u003c/em> episode, and other recent deaths of veteran dancers “Boogaloo Dan” Hodges, Harry Berry, and Dan “Reo Robot” Moore have shaken the boogaloo community to its core.\u003c/p>\n\u003cp>Even more chillingly, the name boogaloo has been co-opted by a violent extremist group called the “Boogaloo Bois” who have been linked to murders in Oakland and Santa Cruz and riots in Minneapolis. “We all started hearing about the so-called boogaloo bois creating chaos right here in the Town,” says the Resurgents’ Ricky Wilson Gantt. “I had a gamut of emotions when I heard that,” says Bilal, adding “if [the boogaloo bois] really and truly understood what the definition of boogaloo is, they never would have chosen it as a name in the first place.” He notes that the word ‘boogaloo’ has been part of the African American vernacular for decades, and traces its roots back to slavery.\u003c/p>\n\u003cp>Though national media has overlooked the boogaloo dancers and their history, the true boogaloo believers remain committed to their cause.\u003c/p>\n\u003cp>”There is a notion in our community,” Randolph concludes,” that we have to protect the art form’s name, that we have to protect the culture. This culture did not destroy lives. It saves lives.” \u003cem>— Text by Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-oakland/index.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>In a previous post we incorrectly introduced E. Vic Randolph “The Crowd Pleaser.” His family informed us that Vic passed away due to heart failure caused by hypertension, not COVID-19 as previously stated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "what-a-vandalized-oakland-mural-says-about-black-futures-in-america",
"title": "What a Vandalized Oakland Mural Says About Black Futures in America",
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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\">A\u003c/span> mural in West Oakland depicting three members of an African American family, dressed in white garb above the words “The Future is Ours,” was defaced this past weekend. It’s the third time the painting has been vandalized in the past two weeks.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The lead artist behind the piece and founder of the street art collective AeroSoul, \u003ca href=\"https://www.instagram.com/refa1love/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, says he doesn’t know the identity of the vandal, but has a feeling racism plays a role in what’s going on.\u003c/p>\n\u003cp>I’ve covered Refa’s work before. I’ve had him on my podcast \u003cem>Rightnowish\u003c/em> to discuss his \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Huey P. Newton mural\u003c/a> in West Oakland, and have photographed his Oscar Grant mural at Fruitvale BART Station. And, earlier this year, I wrote a story after Refa \u003ca href=\"https://www.kqed.org/arts/13874738/a-mural-of-tom-hanks-and-too-short-in-oakland-goes-deeper-than-paint\" target=\"_blank\" rel=\"noopener noreferrer\">covered up a Tom Hanks and Too $hort mural\u003c/a> on San Pablo Avenue in Oakland because he felt that it didn’t properly benefit the community.\u003c/p>\n\u003cp>So, you may ask, how is his own mural being defaced any different?\u003c/p>\n\u003cp>“There’s no comparison,” Refa One tells me. “We halted cultural gentrifiers from coming into the Black community, and went and created art that is edifying for Black people.”\u003c/p>\n\u003cfigure id=\"attachment_13890130\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13890130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Selah-II-800x1067.jpeg\" alt=\"A line is shown, drawn though an image of the Black family at the center of the mural on 14th st. in West Oakland\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-II-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-II-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-II-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-II-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-II-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-II.jpeg 1536w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A line is drawn though the image of a Black family at the center of a mural on 14th Street in West Oakland. \u003ccite>(Refa One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he mural on San Pablo Avenue that depicted the \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">world-famous Hollywood actor beside the MC who popularized rapping about pimpin’ and selling tapes out of his trunk\u003c/a>—both raised in Oakland—has since been replaced with a note that a new mural is in progress (delayed by circumstances related to COVID-19) and a quote from the Black Panther Party’s Ten-Point Program: “We Want Decent Housing Fit For The Shelter Of Human Beings.”\u003c/p>\n\u003cp>Refa says his latest piece is a nod to the future of the Black community.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/AerosoulArt/status/1335471412883070976\" target=\"_blank\" rel=\"noopener noreferrer\">recently vandalized mural\u003c/a>, with its multicolored geometrical background, is located on 14th Street in West Oakland. The area was once home to a majority African American community that’s since embarked on a mass exodus due to a number of factors—urban renewal, the war on drugs, predatory lending, gentrification, you name it. The neighborhood is much like America itself: in the grips of constant tension driven by the all-too-familiar isms of racism, capitalism, sexism and classism.\u003c/p>\n\u003cp>Some folks in this country have this notion that since Joe Biden has been elected president, we’ll be able to “go back to normal.” But we all know what normal race relations look like in America. On top of that, we know there’s a large percentage of people—\u003ca href=\"https://cookpolitical.com/2020-national-popular-vote-tracker\" target=\"_blank\" rel=\"noopener noreferrer\">46.9% of voters nationwide\u003c/a>—who aren’t too fond of this new president.\u003c/p>\n\u003cp>Last month \u003ca href=\"https://www.fbi.gov/news/pressrel/press-releases/fbi-releases-2019-hate-crime-statistics\" target=\"_blank\" rel=\"noopener noreferrer\">the FBI released results\u003c/a>\u003cspan style=\"font-weight: 400\"> showing that, nationwide, the amount of reported hate crimes has been rising for almost 12 years, and \u003c/span>\u003ca href=\"https://www.npr.org/2020/11/16/935439777/fbi-report-bias-motivated-killings-at-record-high-amid-nationwide-rise-in-hate-c\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">this year is no different\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. For the past decade, California has seen hate crimes reported at \u003c/span>\u003ca href=\"https://crime-data-explorer.app.cloud.gov/explorer/state/california/crime\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">a rate higher than the rest of the country\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Consider that there have been at least three Black men found hanged in California this year, all of which were initially ruled suicides. Over the summer, \u003ca href=\"https://www.nytimes.com/2020/06/19/us/hanging-deaths-california.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">two men in Southern California\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Malcolm Harsh in Victorville and Robert Fuller in Palmdale were found hanged; Harsh’s death has since been \u003c/span>\u003ca href=\"https://www.vvdailypress.com/story/news/politics/county/2020/06/20/sheriffrsquos-video-evidence-shows-malcolm-harsch-hanged-himself/42149381/\">\u003cspan style=\"font-weight: 400\">proven to have been a suicide\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. But questions still linger about the circumstances around Fuller’s death. \u003c/span>\u003c/p>\n\u003cp>The most recent incident happened this fall in Sacramento, where \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.sacbee.com/news/local/sacramento-tipping-point/community-voices/article246767356.html\" target=\"_blank\" rel=\"noopener noreferrer\">Willie Brown Jr. was found hanged from a basketball hoop, just days before the election\u003c/a>. Although still officially ruled a suicide, questions remain as to what truly happened.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That same weekend, a boat parade of Trump supporters floated along the two rivers upon which the city was founded, the Sacramento and the American. Since then, pro-Trump rallies have continued in Sacramento, including \u003c/span>\u003ca href=\"https://www.capradio.org/articles/2020/12/05/antifa-protesters-confront-pro-trump-demonstrators-proud-boys-at-californias-capitol-violence-ensues/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">one that turned violent this past weekend\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> as Trump-supporting Proud Boys exchanged blows and pepper spray with Antifa activists on the perimeter of the state’s capitol building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A day prior, in Richmond’s Point Richmond area, a conflict arose between a man posing with a Trump flag and a group of people fishing nearby, one of whom tried to snatch the flag. The \u003ca href=\"https://richmondstandard.com/richmond/2020/12/07/gunshot-fired-in-fight-over-trump-flag-in-richmond/?utm_source=facebook&utm_content=photo&fbclid=IwAR2KyOfzd5Tw8xyE1resasZ1DjpvqDMuE55SnKtjCji3KYCYRM_GlP7RhUs\">\u003cspan style=\"font-weight: 400\">Richmond Pulse reports\u003c/span>\u003c/a> that the conflict led to a gun being fired in the direction of the Trump supporter, but that no one was hit.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just about a month ago, on the other side of Contra Costa County in the city of Brentwood, protestors took to the street in anger over a local resident’s extreme show of Trump support—\u003c/span>\u003ca href=\"https://www.ktvu.com/news/trump-house-in-brentwood-targeted-by-angry-neighbors-police-monitor-scene\">\u003cspan style=\"font-weight: 400\">an effigy of Joe Biden\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> hanged from a window. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All the while, I’m thinking about the end of the Civil War, and the \u003c/span>\u003ca href=\"https://www.nytimes.com/2020/06/16/us/reconstruction-violence-lynchings.html\">\u003cspan style=\"font-weight: 400\">2,000 Black people who were lynched\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the 24-month period immediately afterward.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890131\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Selah-800x600.jpeg\" alt=\"A closer look at the defaced mural, showing a black line clearly through the image of the young child\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A closer look at the defaced mural, showing a black line clearly through the image of the young child \u003ccite>(Refa One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o, yeah, when I hear about someone defacing a work of art dedicated to the proliferation of Black futurism, a part of me is like, ‘Yeah, murals get painted over everyday, B.’\u003c/p>\n\u003cp>At the same time, I can’t help think about the timing, the environment and the symbolism—the lines are literally drawn on the child.\u003c/p>\n\u003cp>The mother depicted in the mural is \u003ca href=\"https://www.instagram.com/jazzhudson/\" target=\"_blank\" rel=\"noopener noreferrer\">Jazz Hudson\u003c/a>, a poet and owner of \u003ca href=\"https://www.goddessbutteroakland.com/shop\" target=\"_blank\" rel=\"noopener noreferrer\">Goddess Butter\u003c/a>, and a friend I grew-up with in the Oakland arts community. She’s seen in a regal headwrap, sitting alongside her husband Olafemi Akintunde and the youngest of their three children, Selah. Jazz says she understands that painting over murals is all part of the street art game, but that doesn’t change how she feels seeing her child with a black line over his face.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> “This last time,” Hudson tells me, “I cried, I got scared. I immediately was like, ‘I want my son’s face off that mural.'” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hudson, also unaware of the identity of the vandal or the motivation behind the defacing, says that it could be someone who doesn’t like Refa’s work, or even someone who doesn’t appreciate her family. “Either way, it does speak to the constant attack on Black people thriving,” she tells me. “\u003cspan style=\"font-weight: 400\">To dress up in all white, for African people, is a representation of purity, your highest self and your ancestors.” \u003c/span>\u003c/span>\u003c/p>\n\u003cp>Hudson was once hopeful that the mural, a visual representation of the evolution of their family, would stand as a proud artifact. She now says she’s removed her emotions from the piece.\u003c/p>\n\u003cp>The father in the mural, \u003ca href=\"https://www.instagram.com/bankhtheartist/\" target=\"_blank\" rel=\"noopener noreferrer\"> Olafemi Akintunde\u003c/a>\u003cspan style=\"font-weight: 400\">, an artist and educator, used a well-known four-letter word to express his emotion toward the person repeatedly tarnishing the image of his family. “\u003c/span>My child’s face being defaced—it’s a powerful symbol,” says Akintunde. “\u003cspan style=\"font-weight: 400\">The Black child, the Black male in particular, is a symbol that scares a lot of people,” he says, adding that fear-based energy “isn’t what’s winning right now, in general.” \u003c/span>\u003c/p>\n\u003cp>With multiple layers of epoxy protecting the mural, the thin layer of aerosol paint sprayed on the piece requires spending money on supplies and a couple of hours of elbow grease in order to be erased.\u003c/p>\n\u003cp>A vandalized piece of art doesn’t compare to headlines of hangings or physical brawls at rallies. But it’s hard not to look at the defaced mural of Jazz, Olafemi and Selah and think of the everyday tension in the minds of people who reside in this divided land.\u003c/p>\n\u003cp>The only thing out here that’s more obvious than a three-foot-long jet black scar across a wall-sized painting of a Black family dressed in white are the racist and classist tensions that divide Americans—and a new president isn’t going to change that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "It may be just another defaced mural, but it's hard not to see its parallels to the post-election tension in America.",
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"title": "What a Vandalized Oakland Mural Says About Black Futures in America | KQED",
"description": "It may be just another defaced mural, but it's hard not to see its parallels to the post-election tension in America.",
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"headline": "What a Vandalized Oakland Mural Says About Black Futures in America",
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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\">A\u003c/span> mural in West Oakland depicting three members of an African American family, dressed in white garb above the words “The Future is Ours,” was defaced this past weekend. It’s the third time the painting has been vandalized in the past two weeks.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The lead artist behind the piece and founder of the street art collective AeroSoul, \u003ca href=\"https://www.instagram.com/refa1love/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, says he doesn’t know the identity of the vandal, but has a feeling racism plays a role in what’s going on.\u003c/p>\n\u003cp>I’ve covered Refa’s work before. I’ve had him on my podcast \u003cem>Rightnowish\u003c/em> to discuss his \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Huey P. Newton mural\u003c/a> in West Oakland, and have photographed his Oscar Grant mural at Fruitvale BART Station. And, earlier this year, I wrote a story after Refa \u003ca href=\"https://www.kqed.org/arts/13874738/a-mural-of-tom-hanks-and-too-short-in-oakland-goes-deeper-than-paint\" target=\"_blank\" rel=\"noopener noreferrer\">covered up a Tom Hanks and Too $hort mural\u003c/a> on San Pablo Avenue in Oakland because he felt that it didn’t properly benefit the community.\u003c/p>\n\u003cp>So, you may ask, how is his own mural being defaced any different?\u003c/p>\n\u003cp>“There’s no comparison,” Refa One tells me. “We halted cultural gentrifiers from coming into the Black community, and went and created art that is edifying for Black people.”\u003c/p>\n\u003cfigure id=\"attachment_13890130\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13890130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Selah-II-800x1067.jpeg\" alt=\"A line is shown, drawn though an image of the Black family at the center of the mural on 14th st. in West Oakland\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-II-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-II-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-II-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-II-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-II-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-II.jpeg 1536w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A line is drawn though the image of a Black family at the center of a mural on 14th Street in West Oakland. \u003ccite>(Refa One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he mural on San Pablo Avenue that depicted the \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">world-famous Hollywood actor beside the MC who popularized rapping about pimpin’ and selling tapes out of his trunk\u003c/a>—both raised in Oakland—has since been replaced with a note that a new mural is in progress (delayed by circumstances related to COVID-19) and a quote from the Black Panther Party’s Ten-Point Program: “We Want Decent Housing Fit For The Shelter Of Human Beings.”\u003c/p>\n\u003cp>Refa says his latest piece is a nod to the future of the Black community.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/AerosoulArt/status/1335471412883070976\" target=\"_blank\" rel=\"noopener noreferrer\">recently vandalized mural\u003c/a>, with its multicolored geometrical background, is located on 14th Street in West Oakland. The area was once home to a majority African American community that’s since embarked on a mass exodus due to a number of factors—urban renewal, the war on drugs, predatory lending, gentrification, you name it. The neighborhood is much like America itself: in the grips of constant tension driven by the all-too-familiar isms of racism, capitalism, sexism and classism.\u003c/p>\n\u003cp>Some folks in this country have this notion that since Joe Biden has been elected president, we’ll be able to “go back to normal.” But we all know what normal race relations look like in America. On top of that, we know there’s a large percentage of people—\u003ca href=\"https://cookpolitical.com/2020-national-popular-vote-tracker\" target=\"_blank\" rel=\"noopener noreferrer\">46.9% of voters nationwide\u003c/a>—who aren’t too fond of this new president.\u003c/p>\n\u003cp>Last month \u003ca href=\"https://www.fbi.gov/news/pressrel/press-releases/fbi-releases-2019-hate-crime-statistics\" target=\"_blank\" rel=\"noopener noreferrer\">the FBI released results\u003c/a>\u003cspan style=\"font-weight: 400\"> showing that, nationwide, the amount of reported hate crimes has been rising for almost 12 years, and \u003c/span>\u003ca href=\"https://www.npr.org/2020/11/16/935439777/fbi-report-bias-motivated-killings-at-record-high-amid-nationwide-rise-in-hate-c\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">this year is no different\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. For the past decade, California has seen hate crimes reported at \u003c/span>\u003ca href=\"https://crime-data-explorer.app.cloud.gov/explorer/state/california/crime\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">a rate higher than the rest of the country\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Consider that there have been at least three Black men found hanged in California this year, all of which were initially ruled suicides. Over the summer, \u003ca href=\"https://www.nytimes.com/2020/06/19/us/hanging-deaths-california.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">two men in Southern California\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Malcolm Harsh in Victorville and Robert Fuller in Palmdale were found hanged; Harsh’s death has since been \u003c/span>\u003ca href=\"https://www.vvdailypress.com/story/news/politics/county/2020/06/20/sheriffrsquos-video-evidence-shows-malcolm-harsch-hanged-himself/42149381/\">\u003cspan style=\"font-weight: 400\">proven to have been a suicide\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. But questions still linger about the circumstances around Fuller’s death. \u003c/span>\u003c/p>\n\u003cp>The most recent incident happened this fall in Sacramento, where \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.sacbee.com/news/local/sacramento-tipping-point/community-voices/article246767356.html\" target=\"_blank\" rel=\"noopener noreferrer\">Willie Brown Jr. was found hanged from a basketball hoop, just days before the election\u003c/a>. Although still officially ruled a suicide, questions remain as to what truly happened.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That same weekend, a boat parade of Trump supporters floated along the two rivers upon which the city was founded, the Sacramento and the American. Since then, pro-Trump rallies have continued in Sacramento, including \u003c/span>\u003ca href=\"https://www.capradio.org/articles/2020/12/05/antifa-protesters-confront-pro-trump-demonstrators-proud-boys-at-californias-capitol-violence-ensues/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">one that turned violent this past weekend\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> as Trump-supporting Proud Boys exchanged blows and pepper spray with Antifa activists on the perimeter of the state’s capitol building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A day prior, in Richmond’s Point Richmond area, a conflict arose between a man posing with a Trump flag and a group of people fishing nearby, one of whom tried to snatch the flag. The \u003ca href=\"https://richmondstandard.com/richmond/2020/12/07/gunshot-fired-in-fight-over-trump-flag-in-richmond/?utm_source=facebook&utm_content=photo&fbclid=IwAR2KyOfzd5Tw8xyE1resasZ1DjpvqDMuE55SnKtjCji3KYCYRM_GlP7RhUs\">\u003cspan style=\"font-weight: 400\">Richmond Pulse reports\u003c/span>\u003c/a> that the conflict led to a gun being fired in the direction of the Trump supporter, but that no one was hit.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just about a month ago, on the other side of Contra Costa County in the city of Brentwood, protestors took to the street in anger over a local resident’s extreme show of Trump support—\u003c/span>\u003ca href=\"https://www.ktvu.com/news/trump-house-in-brentwood-targeted-by-angry-neighbors-police-monitor-scene\">\u003cspan style=\"font-weight: 400\">an effigy of Joe Biden\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> hanged from a window. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All the while, I’m thinking about the end of the Civil War, and the \u003c/span>\u003ca href=\"https://www.nytimes.com/2020/06/16/us/reconstruction-violence-lynchings.html\">\u003cspan style=\"font-weight: 400\">2,000 Black people who were lynched\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the 24-month period immediately afterward.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890131\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Selah-800x600.jpeg\" alt=\"A closer look at the defaced mural, showing a black line clearly through the image of the young child\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Selah.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A closer look at the defaced mural, showing a black line clearly through the image of the young child \u003ccite>(Refa One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o, yeah, when I hear about someone defacing a work of art dedicated to the proliferation of Black futurism, a part of me is like, ‘Yeah, murals get painted over everyday, B.’\u003c/p>\n\u003cp>At the same time, I can’t help think about the timing, the environment and the symbolism—the lines are literally drawn on the child.\u003c/p>\n\u003cp>The mother depicted in the mural is \u003ca href=\"https://www.instagram.com/jazzhudson/\" target=\"_blank\" rel=\"noopener noreferrer\">Jazz Hudson\u003c/a>, a poet and owner of \u003ca href=\"https://www.goddessbutteroakland.com/shop\" target=\"_blank\" rel=\"noopener noreferrer\">Goddess Butter\u003c/a>, and a friend I grew-up with in the Oakland arts community. She’s seen in a regal headwrap, sitting alongside her husband Olafemi Akintunde and the youngest of their three children, Selah. Jazz says she understands that painting over murals is all part of the street art game, but that doesn’t change how she feels seeing her child with a black line over his face.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> “This last time,” Hudson tells me, “I cried, I got scared. I immediately was like, ‘I want my son’s face off that mural.'” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hudson, also unaware of the identity of the vandal or the motivation behind the defacing, says that it could be someone who doesn’t like Refa’s work, or even someone who doesn’t appreciate her family. “Either way, it does speak to the constant attack on Black people thriving,” she tells me. “\u003cspan style=\"font-weight: 400\">To dress up in all white, for African people, is a representation of purity, your highest self and your ancestors.” \u003c/span>\u003c/span>\u003c/p>\n\u003cp>Hudson was once hopeful that the mural, a visual representation of the evolution of their family, would stand as a proud artifact. She now says she’s removed her emotions from the piece.\u003c/p>\n\u003cp>The father in the mural, \u003ca href=\"https://www.instagram.com/bankhtheartist/\" target=\"_blank\" rel=\"noopener noreferrer\"> Olafemi Akintunde\u003c/a>\u003cspan style=\"font-weight: 400\">, an artist and educator, used a well-known four-letter word to express his emotion toward the person repeatedly tarnishing the image of his family. “\u003c/span>My child’s face being defaced—it’s a powerful symbol,” says Akintunde. “\u003cspan style=\"font-weight: 400\">The Black child, the Black male in particular, is a symbol that scares a lot of people,” he says, adding that fear-based energy “isn’t what’s winning right now, in general.” \u003c/span>\u003c/p>\n\u003cp>With multiple layers of epoxy protecting the mural, the thin layer of aerosol paint sprayed on the piece requires spending money on supplies and a couple of hours of elbow grease in order to be erased.\u003c/p>\n\u003cp>A vandalized piece of art doesn’t compare to headlines of hangings or physical brawls at rallies. But it’s hard not to look at the defaced mural of Jazz, Olafemi and Selah and think of the everyday tension in the minds of people who reside in this divided land.\u003c/p>\n\u003cp>The only thing out here that’s more obvious than a three-foot-long jet black scar across a wall-sized painting of a Black family dressed in white are the racist and classist tensions that divide Americans—and a new president isn’t going to change that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the spirit of the New Deal, which hired artists for public works projects during the Great Depression, San Francisco Mayor London Breed \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" rel=\"noopener noreferrer\" target=\"_blank\">announced a new program\u003c/a> that will employ artists to amplify crucial public health reminders this holiday season.\u003c/p>\n\u003cp>With COVID-19 rates up city- and statewide, San Francisco will deploy 30 actors, musicians, dancers and other performing artists as Community Health Ambassadors to promote pandemic safety practices. An additional 30 visual artists will be hired to paint temporary public health-themed murals on boarded-up storefronts.\u003c/p>\n\u003cp>“This new program supports artists financially while also reminding community members to stay safe this holiday season,” Mayor Breed said in a statement. “San Francisco’s artists and cultural organizations are what make our city such a vibrant place, and we need to do all we can to support them. The Creative Corps is an innovate approach to help our artists during this difficult time, and will bring some joy and fun to public spaces throughout the City.”\u003c/p>\n\u003cp>The \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Corps\u003c/a> project has a budget of $250,000 from the Office of Economic and Workforce Development. Local organizations Yerba Buena Center for the Arts (YBCA) and Paint the Void will administer the program, and YBCA will collaborate with San Francisco Bay Area Theater Company, Dance Mission and SF Carnaval to select performing artists.\u003c/p>\n\u003cp>YBCA plans to train the Ambassadors to ensure messaging is accurate and consistent. But the artists will have flexibility in how they deliver public health reminders through their chosen form of expression in public places such as Shared Spaces corridors, streets with outdoor restaurants, parks, and other areas with high foot traffic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As far as murals go, Paint the Void will prioritize artists with strong ties to their chosen neighborhoods. An \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfNEz4Pou6bl25rmcLamo_UwKUbGj3vLvtGaVERsAPIE9gMqQ/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">application\u003c/a> for visual artists is now live.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the spirit of the New Deal, which hired artists for public works projects during the Great Depression, San Francisco Mayor London Breed \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" rel=\"noopener noreferrer\" target=\"_blank\">announced a new program\u003c/a> that will employ artists to amplify crucial public health reminders this holiday season.\u003c/p>\n\u003cp>With COVID-19 rates up city- and statewide, San Francisco will deploy 30 actors, musicians, dancers and other performing artists as Community Health Ambassadors to promote pandemic safety practices. An additional 30 visual artists will be hired to paint temporary public health-themed murals on boarded-up storefronts.\u003c/p>\n\u003cp>“This new program supports artists financially while also reminding community members to stay safe this holiday season,” Mayor Breed said in a statement. “San Francisco’s artists and cultural organizations are what make our city such a vibrant place, and we need to do all we can to support them. The Creative Corps is an innovate approach to help our artists during this difficult time, and will bring some joy and fun to public spaces throughout the City.”\u003c/p>\n\u003cp>The \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Corps\u003c/a> project has a budget of $250,000 from the Office of Economic and Workforce Development. Local organizations Yerba Buena Center for the Arts (YBCA) and Paint the Void will administer the program, and YBCA will collaborate with San Francisco Bay Area Theater Company, Dance Mission and SF Carnaval to select performing artists.\u003c/p>\n\u003cp>YBCA plans to train the Ambassadors to ensure messaging is accurate and consistent. But the artists will have flexibility in how they deliver public health reminders through their chosen form of expression in public places such as Shared Spaces corridors, streets with outdoor restaurants, parks, and other areas with high foot traffic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As far as murals go, Paint the Void will prioritize artists with strong ties to their chosen neighborhoods. An \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfNEz4Pou6bl25rmcLamo_UwKUbGj3vLvtGaVERsAPIE9gMqQ/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">application\u003c/a> for visual artists is now live.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Art of Protest’ Doc Profiles Activist Artists on a Pressing Mission",
"headTitle": "‘The Art of Protest’ Doc Profiles Activist Artists on a Pressing Mission | KQED",
"content": "\u003cp>\u003cem>The Art of Protest\u003c/em> is not a measured, neutral or objective documentary. It’s an unabashed call to action for protesters, outspoken artists and radical musicians—and it’s not in the least bit interested in being anything else. If you don’t fall into any of those categories, there’s a good chance at least some of its content will offend you. If you are a person upset with the state of the world, it’s likely to provide inspiration. But, more than anything, \u003ci>The Art of Protest\u003c/i> is a succinct snapshot of an America dominated by political divisions.\u003c/p>\n\u003cp>[aside postID='arts_13837892']The film is divisive because of who produced it: \u003ca href=\"https://thisisindecline.com/\" target=\"_blank\" rel=\"noopener noreferrer\">INDECLINE\u003c/a>. The anonymous art collective has been active in the Bay Area—along with major cities across the country—for nearly 20 years. You might remember them for the naked \u003ca href=\"https://www.kqed.org/pop/33376/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw\" target=\"_blank\" rel=\"noopener noreferrer\">Donald Trump statue\u003c/a> they installed in the Castro back in 2016. Or the “1-800-GOT-JUNK?” billboard in Emeryville they transformed into \u003ca href=\"https://news.artnet.com/art-world/indecline-trump-immigration-billboad-1307870\" target=\"_blank\" rel=\"noopener noreferrer\">an anti-ICE statement\u003c/a> in 2018. As this film explains, the group has also, at various times, built a cemetery on a Trump golf course (“Here lies decency” read one of the tombstones), and built a rat-infested cell inside a Trump Hotel room.\u003c/p>\n\u003cp>But \u003cem>The Art of Protest\u003c/em> is not simply an advertisement for the activism of INDECLINE. The 45-minute film also features a fairly astonishing array of voices from the art, music and protest worlds, all of whom passionately share their views about the important role art can have in changing the world. And many of them are brazen about their willingness to cross legal lines to do it. Monica Guzman of LA’s \u003ca href=\"https://www.sunrisemovement.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sunrise Movement\u003c/a> notes: “Breaking a law is a reminder to young people that the laws have to change. Why are we supposed to be following laws when corporations are destroying our planet?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uYvUaChT508\u003c/p>\n\u003cp>Featured artists include \u003ca href=\"https://www.ralphsteadman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ralph Steadman\u003c/a>, \u003ca href=\"https://obeygiant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shepard Fairey\u003c/a>, \u003ca href=\"https://www.bbc.com/sport/american-football/53415638\" target=\"_blank\" rel=\"noopener noreferrer\">Fabian Williams and Ash Nash\u003c/a>, \u003ca href=\"http://monicacanilao.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Canilao\u003c/a>, \u003ca href=\"http://www.drooker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eric Drooker\u003c/a>, \u003ca href=\"https://jodieherrera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jodie Herrera\u003c/a> and many more. All speak passionately (and punchily—some are reduced to swift soundbites) about their motivations and methods. As do political practical jokers \u003ca href=\"https://theyesmen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Yes Men\u003c/a>, photographer \u003ca href=\"https://en.wikipedia.org/wiki/Glen_E._Friedman\" target=\"_blank\" rel=\"noopener noreferrer\">Glen E. Friedman\u003c/a>, West Memphis Three survivor \u003ca href=\"https://twitter.com/damienechols\" target=\"_blank\" rel=\"noopener noreferrer\">Damien Echols\u003c/a>, trans activist \u003ca href=\"https://twitter.com/buckangel\" target=\"_blank\" rel=\"noopener noreferrer\">Buck Angel\u003c/a>, and former Minister of Culture for the Black Panther Party, \u003ca href=\"https://en.wikipedia.org/wiki/Emory_Douglas\" target=\"_blank\" rel=\"noopener noreferrer\">Emory Douglas\u003c/a>. Douglas describes how art was an essential method of spreading the group’s message. “The power of art,” he says, “is that it tells the truth that you won’t get from a bureaucrat, or politicians.”\u003c/p>\n\u003cp>Musicians interviewed include Moby, Tom Morello, Dave Navarro and members of Anti-Flag, Youth Brigade, Agnostic Front, Rise Against, Crass and Pussy Riot. (“We were prepared to die for what we believe in,” Nadya Tolokonnikova casually notes.) Bay Area punk mainstays like Jello Biafra, Fat Mike from NOFX, and \u003ca href=\"https://winstonsmith.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Winston Smith\u003c/a> all pop up. As does San Francisco-based Burning Man co-founder \u003ca href=\"https://en.wikipedia.org/wiki/John_Law_(artist)\" target=\"_blank\" rel=\"noopener noreferrer\">John Law\u003c/a>, who firmly states, “Fucking shit up is really fixing things.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just as the interviewees hold nothing back, the documentary’s visuals are equally unfiltered. That means sitting through some deeply upsetting (though already infamous) footage of Black men and protesters being harmed by police officers, as well as clips from racist rallies. Footage of children playing soccer with replicas of prominent politicians’ heads also does not fail in its goal to shock.\u003c/p>\n\u003cp>\u003cem>The Art of Protest\u003c/em> then is a single-minded attempt to win viewers over to the ideas of revolutionary action. And it does so with a passion and urgency that, at times, feels infectious. But it’s in more sedate moments that the film has the greatest impact. Like when musician \u003ca href=\"https://www.grandsonmusic.com/dirty?ref=https://www.google.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Grandson\u003c/a> makes activism in art seem like merely a matter of good mental health: “Art parallels with the pent up anger—the unresolved calls for justice.” Or when Shepard Fairey points out that all art is capable of sharing something valuable with society. “The more contributing their voice in a creative way,” the Obey mastermind says, “the better the world will be.”\u003c/p>\n\u003cp>\u003cem>The Art of Protest\u003c/em> can be streamed in full at \u003ca href=\"https://www.rollingstone.com/culture/culture-news/indecline-documentary-art-of-protest-resistance-1074196/\" target=\"_blank\" rel=\"noopener noreferrer\">RollingStone.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Art of Protest\u003c/em> is not a measured, neutral or objective documentary. It’s an unabashed call to action for protesters, outspoken artists and radical musicians—and it’s not in the least bit interested in being anything else. If you don’t fall into any of those categories, there’s a good chance at least some of its content will offend you. If you are a person upset with the state of the world, it’s likely to provide inspiration. But, more than anything, \u003ci>The Art of Protest\u003c/i> is a succinct snapshot of an America dominated by political divisions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film is divisive because of who produced it: \u003ca href=\"https://thisisindecline.com/\" target=\"_blank\" rel=\"noopener noreferrer\">INDECLINE\u003c/a>. The anonymous art collective has been active in the Bay Area—along with major cities across the country—for nearly 20 years. You might remember them for the naked \u003ca href=\"https://www.kqed.org/pop/33376/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw\" target=\"_blank\" rel=\"noopener noreferrer\">Donald Trump statue\u003c/a> they installed in the Castro back in 2016. Or the “1-800-GOT-JUNK?” billboard in Emeryville they transformed into \u003ca href=\"https://news.artnet.com/art-world/indecline-trump-immigration-billboad-1307870\" target=\"_blank\" rel=\"noopener noreferrer\">an anti-ICE statement\u003c/a> in 2018. As this film explains, the group has also, at various times, built a cemetery on a Trump golf course (“Here lies decency” read one of the tombstones), and built a rat-infested cell inside a Trump Hotel room.\u003c/p>\n\u003cp>But \u003cem>The Art of Protest\u003c/em> is not simply an advertisement for the activism of INDECLINE. The 45-minute film also features a fairly astonishing array of voices from the art, music and protest worlds, all of whom passionately share their views about the important role art can have in changing the world. And many of them are brazen about their willingness to cross legal lines to do it. Monica Guzman of LA’s \u003ca href=\"https://www.sunrisemovement.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sunrise Movement\u003c/a> notes: “Breaking a law is a reminder to young people that the laws have to change. Why are we supposed to be following laws when corporations are destroying our planet?”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uYvUaChT508'\n title='//www.youtube.com/embed/uYvUaChT508'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Featured artists include \u003ca href=\"https://www.ralphsteadman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ralph Steadman\u003c/a>, \u003ca href=\"https://obeygiant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shepard Fairey\u003c/a>, \u003ca href=\"https://www.bbc.com/sport/american-football/53415638\" target=\"_blank\" rel=\"noopener noreferrer\">Fabian Williams and Ash Nash\u003c/a>, \u003ca href=\"http://monicacanilao.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Canilao\u003c/a>, \u003ca href=\"http://www.drooker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eric Drooker\u003c/a>, \u003ca href=\"https://jodieherrera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jodie Herrera\u003c/a> and many more. All speak passionately (and punchily—some are reduced to swift soundbites) about their motivations and methods. As do political practical jokers \u003ca href=\"https://theyesmen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Yes Men\u003c/a>, photographer \u003ca href=\"https://en.wikipedia.org/wiki/Glen_E._Friedman\" target=\"_blank\" rel=\"noopener noreferrer\">Glen E. Friedman\u003c/a>, West Memphis Three survivor \u003ca href=\"https://twitter.com/damienechols\" target=\"_blank\" rel=\"noopener noreferrer\">Damien Echols\u003c/a>, trans activist \u003ca href=\"https://twitter.com/buckangel\" target=\"_blank\" rel=\"noopener noreferrer\">Buck Angel\u003c/a>, and former Minister of Culture for the Black Panther Party, \u003ca href=\"https://en.wikipedia.org/wiki/Emory_Douglas\" target=\"_blank\" rel=\"noopener noreferrer\">Emory Douglas\u003c/a>. Douglas describes how art was an essential method of spreading the group’s message. “The power of art,” he says, “is that it tells the truth that you won’t get from a bureaucrat, or politicians.”\u003c/p>\n\u003cp>Musicians interviewed include Moby, Tom Morello, Dave Navarro and members of Anti-Flag, Youth Brigade, Agnostic Front, Rise Against, Crass and Pussy Riot. (“We were prepared to die for what we believe in,” Nadya Tolokonnikova casually notes.) Bay Area punk mainstays like Jello Biafra, Fat Mike from NOFX, and \u003ca href=\"https://winstonsmith.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Winston Smith\u003c/a> all pop up. As does San Francisco-based Burning Man co-founder \u003ca href=\"https://en.wikipedia.org/wiki/John_Law_(artist)\" target=\"_blank\" rel=\"noopener noreferrer\">John Law\u003c/a>, who firmly states, “Fucking shit up is really fixing things.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just as the interviewees hold nothing back, the documentary’s visuals are equally unfiltered. That means sitting through some deeply upsetting (though already infamous) footage of Black men and protesters being harmed by police officers, as well as clips from racist rallies. Footage of children playing soccer with replicas of prominent politicians’ heads also does not fail in its goal to shock.\u003c/p>\n\u003cp>\u003cem>The Art of Protest\u003c/em> then is a single-minded attempt to win viewers over to the ideas of revolutionary action. And it does so with a passion and urgency that, at times, feels infectious. But it’s in more sedate moments that the film has the greatest impact. Like when musician \u003ca href=\"https://www.grandsonmusic.com/dirty?ref=https://www.google.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Grandson\u003c/a> makes activism in art seem like merely a matter of good mental health: “Art parallels with the pent up anger—the unresolved calls for justice.” Or when Shepard Fairey points out that all art is capable of sharing something valuable with society. “The more contributing their voice in a creative way,” the Obey mastermind says, “the better the world will be.”\u003c/p>\n\u003cp>\u003cem>The Art of Protest\u003c/em> can be streamed in full at \u003ca href=\"https://www.rollingstone.com/culture/culture-news/indecline-documentary-art-of-protest-resistance-1074196/\" target=\"_blank\" rel=\"noopener noreferrer\">RollingStone.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Tenderloin Murals Meet their Audience at Street Level",
"headTitle": "Tenderloin Murals Meet their Audience at Street Level | KQED",
"content": "\u003cp>Chad Hasegawa’s new mural, finished Aug. 1, is painted above Blessings Ministry, a medical marijuana dispensary with a star of David over the door. It’s right down the block from the historic Hibernia Bank Building. Across the street on McAllister, a man wearing shades and a sports coat has a lawn chair laid out. He’s playing Rhianna from a vintage speaker—loud, and he’s singing. The streets are full of people. \u003c/p>\n\u003cp>“People were sitting out every day watching me paint,” Hasegawa remembers, “I had fans. Well, there was nothing else they could do during the pandemic.” \u003c/p>\n\u003cp>[aside postID=\"artschool_826\"]Hasegawa’s mural, spread across two walls, pairs a patchworked brown bear on one section with two minimal spheres on the other. The bear, which he reasons is a symbol of California, was chosen rather arbitrarily. “Basically,” Hasegawa explains, “I started out painting all these animals, but then people wanted me to paint their pug or like a tiger and I didn’t want to be a pet portraitist so I decided to only do the bear.” \u003c/p>\n\u003cp>Thinking about the spectrum of browns that coalesce in the bear’s appearance, Hasegawa drew out two predominant hues that articulate different shades, red and blue. The colors illuminate extremes and the effect is radiant. “I wanted the colors to turn each other on,” Hasegawa says of \u003ca href=\"https://www.instagram.com/chadhasegawa/\" rel=\"noopener noreferrer\" target=\"_blank\">his work\u003c/a>. “As if there are energies in them.”\u003c/p>\n\u003cp>The panel opposite the bear features two interlocking spheres which the artist made painstakingly, with a meticulous tape stencil. It’s minimal and perfect, more like a printed image than a painting. But, Hasegawa assures, if you look closely you can see the brushstrokes.\u003c/p>\n\u003cfigure id=\"attachment_13885217\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/HasegawaMurals_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13885217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chad Hasegawa’s recently completed ‘Kachusha the American,’ 2020. \u003ccite>(Darryl Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[pullquote size='medium' align='right' citation='Darryl Smith, The Luggage Store']I still see the importance of well-curated exhibitions but I love tearing down fences and putting art out there.[/pullquote]The mural, on 83 McAllister, is the latest in a series of large-scale public works commissioned in the Tenderloin and Mid-Market neighborhoods by The Luggage Store gallery and funded primarily by Someland Foundation. So far three other murals have been completed, the first was \u003ca href=\"https://anglimgilbertgallery.com/clare-rojas/#ms-7880\" rel=\"noopener noreferrer\" target=\"_blank\">Clare Rojas\u003c/a>’ \u003cem>PROMISE\u003c/em> on the Warfield; then in 2018, \u003ca href=\"http://www.jackhanley.com/artists/alicia-mccarthy\" rel=\"noopener noreferrer\" target=\"_blank\">Alicia McCarthy\u003c/a>’s \u003cem>Untitled\u003c/em> went up at 7th and Market; and in 2019 \u003ca href=\"https://www.taubaauerbach.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tauba Auerbach\u003c/a> painted the colossal \u003cem>2020\u003c/em> on 455 Eddy. A new mural is planned for October by the artist \u003ca href=\"https://monacaron.com/street/mona-caron-artist\" rel=\"noopener noreferrer\" target=\"_blank\">Mona Caron\u003c/a>.\u003c/p>\n\u003cp>“These projects,” explains Luggage Store co-founder Darryl Smith, “are about giving people access to art at the highest level. I still see the importance of well-curated exhibitions but I love tearing down fences and putting art out there—it seems to me a more interesting way to reach many cultures and people.”\u003c/p>\n\u003cp>Hasegawa has painted murals in San Francisco, his home of over 20 years, for almost as long as he’s lived in the city. Before he works on a mural he always spends time scoping out the area. “The first bear I did was right down the street from The Stud. I thought since there was a big bear scene in the gay community there, they’d like it. And they did.” \u003c/p>\n\u003cp>With museums and galleries shuttered during the pandemic, it is, at the risk of sounding corny, a beautiful thing to see art in the company of others. Especially in a community as strong and interlinked as the Tenderloin, where everyone seems to know each other’s name. This proliferation of public murals is an antidote to the staleness of art museums, providing a lively context, formed by an engaged scene on the streets, that knocks high art out of its rarified, and often apolitical, frame. \u003c/p>\n\u003cfigure id=\"attachment_13885213\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/DarrylSmith_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13885213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Luggage Store co-founder Darryl Smith with Alicia McCarthy’s mural in the background. \u003ccite>(Barrett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People really like them,” says Smith, who is constantly greeting people on Eddy. “Just being on the street, walking through the neighborhood, I encounter people who thank me for the murals. Some even talk to me about other walls that could use one.” \u003c/p>\n\u003cp>A longtime resident of the Tenderloin, Hasegawa wanted to honor McAllister’s strategic location as a protest route. “That’s why I had the bear throw its hand up, as a sign of hope,” he says. “Like keep going people, we still have to scream at City Hall, it’s not over yet.” \u003c/p>\n\u003cp>He painted the Pan-African flag in his mural as a sign of respect to the Black Lives Matter movement; he figured it was something the Black community that spends time on the block would appreciate, “even if they weren’t about the art.” The mural itself is titled \u003cem>Kachusha the American\u003c/em>, in honor of a friend of Hasegawa’s who was attacked by the police in the Mission after acting as a witness to their harassment of a family. According to Hasegawa, while defending himself from the violent officers, Kachusha screamed, “I can’t breathe. I’m an American.” \u003c/p>\n\u003cp>“He kept saying that,” says Hasegawa, “because he felt like he was caught in a war.”\u003c/p>\n\u003cfigure id=\"attachment_13885215\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1.jpg\" alt=\"\" width=\"768\" height=\"1050\" class=\"size-full wp-image-13885215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1-160x219.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Tauba Auerbach’s ‘2020,’ 2019 on Mosser Towers. \u003ccite>(Jay Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Color and Form on an Epic Scale\u003c/h2>\n\u003cp>A girl with “Elon Musk” written on her arm in thick black marker is marveling at 2020, Auerbach’s hypnotic black and white mural. She has a pile of high heels in front of her and is modeling a particularly nice pair of red pumps. Gliding back and forth impressively, lightly encouraging people to buy them off her feet, she engages someone about the mural. She says she thinks it’s beautiful, then, softly, and only to herself, she whispers, “Best art ever.”\u003c/p>\n\u003cp>Auerbach’s mural depicts what looks like a rectangular piece of glass being dipped into inky milk. Adroit painted shadows falling from the glass give the mural a disconcerting trompe l’oeil effect and from a distance it’s as if the building is caught in a perpetual collision. \u003c/p>\n\u003cp>The largest work Auerbach has ever done, the mural was made with the assistance of a two-person crew from \u003ca href=\"https://www.newbohemiasigns.com/\" rel=\"noopener noreferrer\" target=\"_blank\">New Bohemia Signs\u003c/a>, where Auerbach worked early in her career. The geometric precision and dedication to work by hand for which Auerbach is known wrap around the building with staggering care. \u003c/p>\n\u003cp>A few blocks away sits Alicia McCarthy’s 100-by-100-foot untitled mural. Made with foot-long rollers acting as stand-ins for brushes, it’s a net of interlocking stripes painted line by line. Each color in the painting is unique, mixed by the artist. Following a line horizontally or vertically lends the mural a visual undulation; each color is constantly re-contextualized by its intersections. McCarthy, who worked with a crew of artists to put up the mural, notes the pure pleasure of watching colors interact with one another.\u003c/p>\n\u003cp>“I’m not trying to illustrate anything,” says Oakland-born McCarthy. “It is just color and lines and you see exactly what goes into it. There is no manipulation. My work is just about adaptation and context.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Street Art and the Battle for the City’s Soul\u003c/h2>\n\u003cp>The Tenderloin and Mid-Market murals are funded by Sara Williams and her foundation \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/453438376\" rel=\"noopener noreferrer\" target=\"_blank\">Someland\u003c/a>, which she started with her husband Evan Williams, a co-founder of Twitter. While political justice and education seem to be the primary recipients of Someland’s donations, they’ve supported the arts in San Francisco by contributing to 826 Valencia and the FOR-SITE foundations’s \u003cem>\u003ca href=\"https://www.for-site.org/project/home-land-security/\" rel=\"noopener noreferrer\" target=\"_blank\">Home Land Security\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>As the area has long been a site of discontent, where new money meets a resilient community, there is an inherent tension between tech companies and the shrinking viability of small DIY and nonprofit organizations. On top of that, street art has recently become a kind of code for “gentrifying neighborhood” in the vernacular of start-ups like Airbnb or Tripadvisor. \u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Alicia McCarthy']It means a lot to work on this with Darryl and Laurie. Luggage Store is family.[/pullquote]Someland’s decision to directly support a steward of the community like Luggage Store—and in turn, the people they serve—marks an unusual and somewhat optimistic moment. By working with artists who have deep roots in San Francisco, and are politically attuned to the responsibilities of making public work, Smith is helping restore the Mission School’s long history of painting artwork on city walls, for free and for everyone.\u003c/p>\n\u003cp>“We look at Mid-Market and the Tenderloin where there is a strong African American community and we are proud that a number of murals have been done by Black people, people of color and women,” Smith says. \u003c/p>\n\u003cp>The artists he’s curated have taken care to be politically conscious, weighing a number of factors before committing to a mural—and its location. The luxury hotel Proper that hosts Alicia McCarthy’s mural used to be an SRO. “That was a difficult decision for me,” McCarthy says of taking the commission. “I did it on the condition that half my artist fee be donated to a nonprofit.” Ultimately, she reasoned she could trust the The Luggage Store, where she has shown and viewed art for decades.\u003c/p>\n\u003cp>“I’m not in the field for any professional reasons, but it means a lot to work on this with Darryl and Laurie,” McCarthy says of the co-founders. “Luggage Store is family. They are one of my core influences, I don’t think anyone could do what they do the way they do.” \u003c/p>\n\u003cfigure id=\"attachment_13885216\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1.jpg\" alt=\"\" width=\"1024\" height=\"1007\" class=\"size-full wp-image-13885216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-1020x1003.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-768x755.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Alicia McCarthy’s ‘Untitled,’ 2018 on the Proper Hotel. \u003ccite>(Jay Jones )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art and Access\u003c/h2>\n\u003cp>The term “art market” has always struck me as strange. It’s as if art is a naturally occurring resource like oil or corn. As if it can be mined, processed and commodified, and isn’t the result of deeply personal and political expression. \u003c/p>\n\u003cp>The Luggage Store is committed, in its own way, to protecting the Tenderloin from gentrification and the looming recession while bringing art to its neighbors. In this mural project, public art is not a stepping stone towards gentrification, but a way of improving the daily lives of the people who are already there.\u003c/p>\n\u003cp>The pandemic has irrefutably highlighted the link between wealth and access to art, as works become further entombed within galleries open only by appointment and museums, still closed. But in the streets of the Tenderloin, there is a vitality to these freely accessible murals—curated with extreme care and hand-painted by artists who love San Francisco—that no economic crisis or pandemic could extinguish. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chad Hasegawa’s new mural, finished Aug. 1, is painted above Blessings Ministry, a medical marijuana dispensary with a star of David over the door. It’s right down the block from the historic Hibernia Bank Building. Across the street on McAllister, a man wearing shades and a sports coat has a lawn chair laid out. He’s playing Rhianna from a vintage speaker—loud, and he’s singing. The streets are full of people. \u003c/p>\n\u003cp>“People were sitting out every day watching me paint,” Hasegawa remembers, “I had fans. Well, there was nothing else they could do during the pandemic.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hasegawa’s mural, spread across two walls, pairs a patchworked brown bear on one section with two minimal spheres on the other. The bear, which he reasons is a symbol of California, was chosen rather arbitrarily. “Basically,” Hasegawa explains, “I started out painting all these animals, but then people wanted me to paint their pug or like a tiger and I didn’t want to be a pet portraitist so I decided to only do the bear.” \u003c/p>\n\u003cp>Thinking about the spectrum of browns that coalesce in the bear’s appearance, Hasegawa drew out two predominant hues that articulate different shades, red and blue. The colors illuminate extremes and the effect is radiant. “I wanted the colors to turn each other on,” Hasegawa says of \u003ca href=\"https://www.instagram.com/chadhasegawa/\" rel=\"noopener noreferrer\" target=\"_blank\">his work\u003c/a>. “As if there are energies in them.”\u003c/p>\n\u003cp>The panel opposite the bear features two interlocking spheres which the artist made painstakingly, with a meticulous tape stencil. It’s minimal and perfect, more like a printed image than a painting. But, Hasegawa assures, if you look closely you can see the brushstrokes.\u003c/p>\n\u003cfigure id=\"attachment_13885217\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/HasegawaMurals_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13885217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chad Hasegawa’s recently completed ‘Kachusha the American,’ 2020. \u003ccite>(Darryl Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "I still see the importance of well-curated exhibitions but I love tearing down fences and putting art out there.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The mural, on 83 McAllister, is the latest in a series of large-scale public works commissioned in the Tenderloin and Mid-Market neighborhoods by The Luggage Store gallery and funded primarily by Someland Foundation. So far three other murals have been completed, the first was \u003ca href=\"https://anglimgilbertgallery.com/clare-rojas/#ms-7880\" rel=\"noopener noreferrer\" target=\"_blank\">Clare Rojas\u003c/a>’ \u003cem>PROMISE\u003c/em> on the Warfield; then in 2018, \u003ca href=\"http://www.jackhanley.com/artists/alicia-mccarthy\" rel=\"noopener noreferrer\" target=\"_blank\">Alicia McCarthy\u003c/a>’s \u003cem>Untitled\u003c/em> went up at 7th and Market; and in 2019 \u003ca href=\"https://www.taubaauerbach.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tauba Auerbach\u003c/a> painted the colossal \u003cem>2020\u003c/em> on 455 Eddy. A new mural is planned for October by the artist \u003ca href=\"https://monacaron.com/street/mona-caron-artist\" rel=\"noopener noreferrer\" target=\"_blank\">Mona Caron\u003c/a>.\u003c/p>\n\u003cp>“These projects,” explains Luggage Store co-founder Darryl Smith, “are about giving people access to art at the highest level. I still see the importance of well-curated exhibitions but I love tearing down fences and putting art out there—it seems to me a more interesting way to reach many cultures and people.”\u003c/p>\n\u003cp>Hasegawa has painted murals in San Francisco, his home of over 20 years, for almost as long as he’s lived in the city. Before he works on a mural he always spends time scoping out the area. “The first bear I did was right down the street from The Stud. I thought since there was a big bear scene in the gay community there, they’d like it. And they did.” \u003c/p>\n\u003cp>With museums and galleries shuttered during the pandemic, it is, at the risk of sounding corny, a beautiful thing to see art in the company of others. Especially in a community as strong and interlinked as the Tenderloin, where everyone seems to know each other’s name. This proliferation of public murals is an antidote to the staleness of art museums, providing a lively context, formed by an engaged scene on the streets, that knocks high art out of its rarified, and often apolitical, frame. \u003c/p>\n\u003cfigure id=\"attachment_13885213\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/DarrylSmith_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13885213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Luggage Store co-founder Darryl Smith with Alicia McCarthy’s mural in the background. \u003ccite>(Barrett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People really like them,” says Smith, who is constantly greeting people on Eddy. “Just being on the street, walking through the neighborhood, I encounter people who thank me for the murals. Some even talk to me about other walls that could use one.” \u003c/p>\n\u003cp>A longtime resident of the Tenderloin, Hasegawa wanted to honor McAllister’s strategic location as a protest route. “That’s why I had the bear throw its hand up, as a sign of hope,” he says. “Like keep going people, we still have to scream at City Hall, it’s not over yet.” \u003c/p>\n\u003cp>He painted the Pan-African flag in his mural as a sign of respect to the Black Lives Matter movement; he figured it was something the Black community that spends time on the block would appreciate, “even if they weren’t about the art.” The mural itself is titled \u003cem>Kachusha the American\u003c/em>, in honor of a friend of Hasegawa’s who was attacked by the police in the Mission after acting as a witness to their harassment of a family. According to Hasegawa, while defending himself from the violent officers, Kachusha screamed, “I can’t breathe. I’m an American.” \u003c/p>\n\u003cp>“He kept saying that,” says Hasegawa, “because he felt like he was caught in a war.”\u003c/p>\n\u003cfigure id=\"attachment_13885215\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1.jpg\" alt=\"\" width=\"768\" height=\"1050\" class=\"size-full wp-image-13885215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1-160x219.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Tauba Auerbach’s ‘2020,’ 2019 on Mosser Towers. \u003ccite>(Jay Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Color and Form on an Epic Scale\u003c/h2>\n\u003cp>A girl with “Elon Musk” written on her arm in thick black marker is marveling at 2020, Auerbach’s hypnotic black and white mural. She has a pile of high heels in front of her and is modeling a particularly nice pair of red pumps. Gliding back and forth impressively, lightly encouraging people to buy them off her feet, she engages someone about the mural. She says she thinks it’s beautiful, then, softly, and only to herself, she whispers, “Best art ever.”\u003c/p>\n\u003cp>Auerbach’s mural depicts what looks like a rectangular piece of glass being dipped into inky milk. Adroit painted shadows falling from the glass give the mural a disconcerting trompe l’oeil effect and from a distance it’s as if the building is caught in a perpetual collision. \u003c/p>\n\u003cp>The largest work Auerbach has ever done, the mural was made with the assistance of a two-person crew from \u003ca href=\"https://www.newbohemiasigns.com/\" rel=\"noopener noreferrer\" target=\"_blank\">New Bohemia Signs\u003c/a>, where Auerbach worked early in her career. The geometric precision and dedication to work by hand for which Auerbach is known wrap around the building with staggering care. \u003c/p>\n\u003cp>A few blocks away sits Alicia McCarthy’s 100-by-100-foot untitled mural. Made with foot-long rollers acting as stand-ins for brushes, it’s a net of interlocking stripes painted line by line. Each color in the painting is unique, mixed by the artist. Following a line horizontally or vertically lends the mural a visual undulation; each color is constantly re-contextualized by its intersections. McCarthy, who worked with a crew of artists to put up the mural, notes the pure pleasure of watching colors interact with one another.\u003c/p>\n\u003cp>“I’m not trying to illustrate anything,” says Oakland-born McCarthy. “It is just color and lines and you see exactly what goes into it. There is no manipulation. My work is just about adaptation and context.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Street Art and the Battle for the City’s Soul\u003c/h2>\n\u003cp>The Tenderloin and Mid-Market murals are funded by Sara Williams and her foundation \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/453438376\" rel=\"noopener noreferrer\" target=\"_blank\">Someland\u003c/a>, which she started with her husband Evan Williams, a co-founder of Twitter. While political justice and education seem to be the primary recipients of Someland’s donations, they’ve supported the arts in San Francisco by contributing to 826 Valencia and the FOR-SITE foundations’s \u003cem>\u003ca href=\"https://www.for-site.org/project/home-land-security/\" rel=\"noopener noreferrer\" target=\"_blank\">Home Land Security\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>As the area has long been a site of discontent, where new money meets a resilient community, there is an inherent tension between tech companies and the shrinking viability of small DIY and nonprofit organizations. On top of that, street art has recently become a kind of code for “gentrifying neighborhood” in the vernacular of start-ups like Airbnb or Tripadvisor. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "It means a lot to work on this with Darryl and Laurie. Luggage Store is family.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Someland’s decision to directly support a steward of the community like Luggage Store—and in turn, the people they serve—marks an unusual and somewhat optimistic moment. By working with artists who have deep roots in San Francisco, and are politically attuned to the responsibilities of making public work, Smith is helping restore the Mission School’s long history of painting artwork on city walls, for free and for everyone.\u003c/p>\n\u003cp>“We look at Mid-Market and the Tenderloin where there is a strong African American community and we are proud that a number of murals have been done by Black people, people of color and women,” Smith says. \u003c/p>\n\u003cp>The artists he’s curated have taken care to be politically conscious, weighing a number of factors before committing to a mural—and its location. The luxury hotel Proper that hosts Alicia McCarthy’s mural used to be an SRO. “That was a difficult decision for me,” McCarthy says of taking the commission. “I did it on the condition that half my artist fee be donated to a nonprofit.” Ultimately, she reasoned she could trust the The Luggage Store, where she has shown and viewed art for decades.\u003c/p>\n\u003cp>“I’m not in the field for any professional reasons, but it means a lot to work on this with Darryl and Laurie,” McCarthy says of the co-founders. “Luggage Store is family. They are one of my core influences, I don’t think anyone could do what they do the way they do.” \u003c/p>\n\u003cfigure id=\"attachment_13885216\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1.jpg\" alt=\"\" width=\"1024\" height=\"1007\" class=\"size-full wp-image-13885216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-1020x1003.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-768x755.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Alicia McCarthy’s ‘Untitled,’ 2018 on the Proper Hotel. \u003ccite>(Jay Jones )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art and Access\u003c/h2>\n\u003cp>The term “art market” has always struck me as strange. It’s as if art is a naturally occurring resource like oil or corn. As if it can be mined, processed and commodified, and isn’t the result of deeply personal and political expression. \u003c/p>\n\u003cp>The Luggage Store is committed, in its own way, to protecting the Tenderloin from gentrification and the looming recession while bringing art to its neighbors. In this mural project, public art is not a stepping stone towards gentrification, but a way of improving the daily lives of the people who are already there.\u003c/p>\n\u003cp>The pandemic has irrefutably highlighted the link between wealth and access to art, as works become further entombed within galleries open only by appointment and museums, still closed. But in the streets of the Tenderloin, there is a vitality to these freely accessible murals—curated with extreme care and hand-painted by artists who love San Francisco—that no economic crisis or pandemic could extinguish. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Updated Aug. 4, 3:45pm\u003c/i>\u003c/p>\n\u003cp>On a recent Saturday, Temi Washington, the great-great-granddaughter of Bridget “Biddy” Mason, spoke about the importance of seeing Black lives represented in American history. The occasion was a virtual panel discussion for LaborFest, the first virtual event for the annual San Francisco celebration of labor movements and the history of workers. Washington was there to talk about the future of a New Deal-era mural featuring her ancestor, a nurse and midwife in 19th-century Los Angeles. \u003c/p>\n\u003cp>“The story behind it certainly needs to be told,” Washington said of Bernard Zakheim’s 10-panel fresco \u003cem>History of Medicine in California\u003c/em>. In early June, the University of California San Francisco announced the frescoes would need to either be moved or destroyed to make way for a new research and academic building planned at the school’s Parnassus Heights campus. The school offered to preserve the frescoes digitally.[aside postID=\"news_11767493\"]\u003c/p>\n\u003cp>But Washington, the Zakheim family, and community supporters emphasized digital files would be no replacement for viewing the frescoes in person. Many argue that removing the murals will erase the already little-known history of Biddy Mason in the process. Mason was brought to California (a free state) by her enslaver, who was eventually apprehended with the help of local authorities. In a 1856 ruling by a Los Angeles court, she and 13 other enslaved people, including her three children, were declared free. \u003c/p>\n\u003cp>She later worked with one of California’s earliest trained physicians, John S. Griffin. In Zakheim’s fresco, Mason and Griffin are shown as equals, caring for a patient with malaria.\u003c/p>\n\u003cp>Growing up, Washington said she did not see positive portrayals of Black lives in history. She believes the frescoes are a gift to the school. \u003cem>History of Medicine in California\u003c/em> has greeted UCSF hospital workers and visitors to Toland Hall auditorium for over 80 years. Last week, San Francisco Supervisor Aaron Peskin expressed his interest in the frescoes, introducing a resolution to the Board of Supervisors to declare the artwork a historic landmark. \u003c/p>\n\u003cfigure id=\"attachment_13884221\" class=\"wp-caption aligncenter\" style=\"max-width: 991px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/zakheim2.jpg\" alt=\"\" width=\"991\" height=\"277\" class=\"size-full wp-image-13884221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-800x224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-768x215.jpg 768w\" sizes=\"(max-width: 991px) 100vw, 991px\">\u003cfigcaption class=\"wp-caption-text\">Surgeon Don Pedro Prat treats a patient’s leg and James Ohio Pattie vaccinates Californians in a detail of ‘History of Medicine in California.’\u003cbr> \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zakheim’s frescoes, funded by the New Deal’s Federal Art Project, depict the history of medicine in California. The vibrant murals are curved along the walls of the auditorium. In addition to Mason, other medical practitioners treat patients with all varieties of diseases.\u003c/p>\n\u003cp>The GSA considers the frescoes to be the property of the federal government on loan to the university. But the building that houses them is now 103 years old and seismically unfit; the university says it needs to be replaced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Nonetheless UCSF will continue to work in good faith with all parties to determine if a plan to save the murals is possible,” the school said in a statement.\u003c/p>\n\u003cp>Historic preservation firms hired by UCSF said it would cost about $8 million to remove the frescoes. But Nathan Zakheim, the artist’s son, who has professional experience removing and conserving his father’s work, guarantees he can do the job for just $1 million. “I don’t object to their $8 million quote because that’s the sort of thing greedy conservators like to charge,” he said in the same LaborFest panel, “but I can do it for less than a million.”\u003c/p>\n\u003cfigure id=\"attachment_13884224\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg\" alt=\"\" width=\"1024\" height=\"725\" class=\"size-full wp-image-13884224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-768x544.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Zakheim and his son Nathan Zakheim, circa 1967. \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“UCSF has decided not to use public funds to physically preserve the murals, especially at a time when the UC system faces financial challenges in the wake of COVID-19,” the university said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>In a legal letter issued to the Zakheim family on June 4, UCSF stated the frescoes were set for demolition, giving the family 90 days to come up with a proposal to save them. Sources close to the project say that due to the ensuing outcry surrounding the frescoes’ potential destruction, as well as discussions about ownership of the murals, that timeline may no longer be in effect. \u003c/p>\n\u003cp>Adam Gottstein, Bernard Zakheim’s grandson, is trying to increase public awareness around his grandfather’s frescoes. In the LaborFest panel, Zakheim family members and community supporters discussed the relevance of the murals to the working class and the public and the political nature that protects them. \u003c/p>\n\u003cp>Robert Sherins, a community member who supports the preservation of the murals, has written six books about Bernard Zakheim’s personal life and paintings. Sherins, as well as other supporters, emphasized the importance of preserving history, especially now. \u003c/p>\n\u003cp>“These frescoes tell the story like none other and they cannot be removed,” Sherins said, “or you will forget history—as everybody else has.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>This article has been updated to accurately describe how Biddy Mason attained her freedom—as a Black woman, she was not able to petition the court on her own behalf at the time.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that Parnassus Hall is slated to be replaced with a complex of care units. It is slated to be replaced by a new research and academic building.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that the murals were funded by the U.S> General Service Administration. The murals were funded by the Federal Arts Project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Descendants of the artist and one of his subjects spoke to the importance of preserving Bernard Zakheim's depiction of California history.",
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"title": "Supporters Rally Around New Deal Mural Threatened by UCSF Construction | KQED",
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"headline": "Supporters Rally Around New Deal Mural Threatened by UCSF Construction",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated Aug. 4, 3:45pm\u003c/i>\u003c/p>\n\u003cp>On a recent Saturday, Temi Washington, the great-great-granddaughter of Bridget “Biddy” Mason, spoke about the importance of seeing Black lives represented in American history. The occasion was a virtual panel discussion for LaborFest, the first virtual event for the annual San Francisco celebration of labor movements and the history of workers. Washington was there to talk about the future of a New Deal-era mural featuring her ancestor, a nurse and midwife in 19th-century Los Angeles. \u003c/p>\n\u003cp>“The story behind it certainly needs to be told,” Washington said of Bernard Zakheim’s 10-panel fresco \u003cem>History of Medicine in California\u003c/em>. In early June, the University of California San Francisco announced the frescoes would need to either be moved or destroyed to make way for a new research and academic building planned at the school’s Parnassus Heights campus. The school offered to preserve the frescoes digitally.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Washington, the Zakheim family, and community supporters emphasized digital files would be no replacement for viewing the frescoes in person. Many argue that removing the murals will erase the already little-known history of Biddy Mason in the process. Mason was brought to California (a free state) by her enslaver, who was eventually apprehended with the help of local authorities. In a 1856 ruling by a Los Angeles court, she and 13 other enslaved people, including her three children, were declared free. \u003c/p>\n\u003cp>She later worked with one of California’s earliest trained physicians, John S. Griffin. In Zakheim’s fresco, Mason and Griffin are shown as equals, caring for a patient with malaria.\u003c/p>\n\u003cp>Growing up, Washington said she did not see positive portrayals of Black lives in history. She believes the frescoes are a gift to the school. \u003cem>History of Medicine in California\u003c/em> has greeted UCSF hospital workers and visitors to Toland Hall auditorium for over 80 years. Last week, San Francisco Supervisor Aaron Peskin expressed his interest in the frescoes, introducing a resolution to the Board of Supervisors to declare the artwork a historic landmark. \u003c/p>\n\u003cfigure id=\"attachment_13884221\" class=\"wp-caption aligncenter\" style=\"max-width: 991px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/zakheim2.jpg\" alt=\"\" width=\"991\" height=\"277\" class=\"size-full wp-image-13884221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-800x224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-768x215.jpg 768w\" sizes=\"(max-width: 991px) 100vw, 991px\">\u003cfigcaption class=\"wp-caption-text\">Surgeon Don Pedro Prat treats a patient’s leg and James Ohio Pattie vaccinates Californians in a detail of ‘History of Medicine in California.’\u003cbr> \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zakheim’s frescoes, funded by the New Deal’s Federal Art Project, depict the history of medicine in California. The vibrant murals are curved along the walls of the auditorium. In addition to Mason, other medical practitioners treat patients with all varieties of diseases.\u003c/p>\n\u003cp>The GSA considers the frescoes to be the property of the federal government on loan to the university. But the building that houses them is now 103 years old and seismically unfit; the university says it needs to be replaced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Nonetheless UCSF will continue to work in good faith with all parties to determine if a plan to save the murals is possible,” the school said in a statement.\u003c/p>\n\u003cp>Historic preservation firms hired by UCSF said it would cost about $8 million to remove the frescoes. But Nathan Zakheim, the artist’s son, who has professional experience removing and conserving his father’s work, guarantees he can do the job for just $1 million. “I don’t object to their $8 million quote because that’s the sort of thing greedy conservators like to charge,” he said in the same LaborFest panel, “but I can do it for less than a million.”\u003c/p>\n\u003cfigure id=\"attachment_13884224\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg\" alt=\"\" width=\"1024\" height=\"725\" class=\"size-full wp-image-13884224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-768x544.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Zakheim and his son Nathan Zakheim, circa 1967. \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“UCSF has decided not to use public funds to physically preserve the murals, especially at a time when the UC system faces financial challenges in the wake of COVID-19,” the university said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>In a legal letter issued to the Zakheim family on June 4, UCSF stated the frescoes were set for demolition, giving the family 90 days to come up with a proposal to save them. Sources close to the project say that due to the ensuing outcry surrounding the frescoes’ potential destruction, as well as discussions about ownership of the murals, that timeline may no longer be in effect. \u003c/p>\n\u003cp>Adam Gottstein, Bernard Zakheim’s grandson, is trying to increase public awareness around his grandfather’s frescoes. In the LaborFest panel, Zakheim family members and community supporters discussed the relevance of the murals to the working class and the public and the political nature that protects them. \u003c/p>\n\u003cp>Robert Sherins, a community member who supports the preservation of the murals, has written six books about Bernard Zakheim’s personal life and paintings. Sherins, as well as other supporters, emphasized the importance of preserving history, especially now. \u003c/p>\n\u003cp>“These frescoes tell the story like none other and they cannot be removed,” Sherins said, “or you will forget history—as everybody else has.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>This article has been updated to accurately describe how Biddy Mason attained her freedom—as a Black woman, she was not able to petition the court on her own behalf at the time.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that Parnassus Hall is slated to be replaced with a complex of care units. It is slated to be replaced by a new research and academic building.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that the murals were funded by the U.S> General Service Administration. The murals were funded by the Federal Arts Project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "what-will-become-of-oaklands-black-lives-matter-murals",
"title": "What Will Become of Oakland’s Black Lives Matter Murals?",
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"content": "\u003cp>Sometimes the energy of a movement looks like the \u003ca href=\"https://twitter.com/LinaBlanco/status/1274059418770927616\" rel=\"noopener noreferrer\" target=\"_blank\">mass mobilization of people marching towards a common goal\u003c/a>, and sometimes it’s hundreds of square feet of painted plywood.\u003c/p>\n\u003cp>In May, as protests in response to the killing of George Floyd by Minneapolis police officer Derek Chauvin began in downtown Oakland, businesses covered their storefronts with plywood, inadvertently creating surfaces primed for messages of liberation and solidarity. In the days that followed, artists and volunteers lined the sidewalks with buckets and spray cans of paint, putting up Cornel West quotes, Black Power imagery and, over and over again, the names of those killed by police.\u003c/p>\n\u003cp>Almost as soon as these large-scale murals went up, people \u003ca href=\"https://twitter.com/is_a_lau/status/1270374072166178817\" rel=\"noopener noreferrer\" target=\"_blank\">began asking\u003c/a> how the ephemeral pieces of public art could be preserved.\u003c/p>\n\u003cp>https://twitter.com/OGpenn/status/1270021040312221696\u003c/p>\n\u003cp>“The consensus is that this is an important time,” says Randolph Belle, spokesperson for the \u003ca href=\"https://www.blackculturalzone.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Cultural Zone\u003c/a>, a coalition of Black residents, leaders and organizers working to keep Black culture and people in East Oakland. “The movement is what we’re most concerned with. But the artwork is obviously a result of the protests, and the protests are a result of the historical injustices.”\u003c/p>\n\u003cp>The Black Cultural Zone, \u003ca href=\"https://bettiono.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Betti Ono Gallery\u003c/a>, and other Black-led arts organizations, with support from ally organizations like the Oakland Museum and Oakland Art Murmur, are now attempting to bring some order to the preservation of murals that emerged spontaneously and without centralized coordination. The Black Cultural Zone has launched an \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScwvM8ZV7Ln2CwiPtCyywTaPzE0xwTw2jXDB9947Z1rbLj1lw/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">online form\u003c/a> to help identify artists and artworks, which business owners or landlords can use to let the group know if they’re planning to remove a mural.\u003c/p>\n\u003cp>(Endeavors, a project affiliated with Oakland’s Good Mother Gallery, has simultaneously created \u003ca href=\"https://www.endeavors-oakland.com/home-copy\" target=\"_blank\" rel=\"noopener noreferrer\">an online gallery\u003c/a> of mural documentation, also hosts a form which promises to notify artists when their boards are removed.)\u003c/p>\n\u003cfigure id=\"attachment_13881569\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, certain questions linger: Should pieces go back to the artists, stay with the businesses, go into archival storage, or remain on view at another public location?\u003c/p>\n\u003cp>Oakland Museum of California Director Lori Fogarty underscores Belle’s point about focusing on the movement, first and foremost, over the murals. Though the institution was on \u003ca href=\"https://twitter.com/Bethpikegirl/status/1270023479228686342\" target=\"_blank\" rel=\"noopener noreferrer\">many minds\u003c/a> as a \u003ca href=\"https://twitter.com/OKcouncil/status/1270033041319026688\" target=\"_blank\" rel=\"noopener noreferrer\">possible home\u003c/a> for the murals, Fogarty says the museum isn’t yet looking to accession artwork or schedule an exhibition. Instead, OMCA is providing logistical support to the preservation efforts.\u003c/p>\n\u003cp>“Black-led organizations and artists need to be at the forefront,” Fogarty says. “It is a paradigm shift we need to acknowledge and honor at every step.”\u003c/p>\n\u003cp>Curator and arts organizer \u003ca href=\"https://artistasfirstrespondercom.godaddysites.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ashara Ekundayo\u003c/a> watched the murals go up, visiting the downtown gallery every day. She says early on her conversations with artists raised red flags about the challenges of documenting and preserving the murals. “What alarmed me was that very few of the artists had thought about the importance and value of their work, and what could happen to it without them knowing and being credited or compensated,” she says. \u003c/p>\n\u003cp>She also noticed racial and cultural dynamics playing out in the murals: white artists were being commissioned to write “Black Lives Matter” on boarded-up storefronts and Black artists were not being paid for their work. Not acknowledging the artwork as valuable, particularly the work of Black artists, Ekundayo says, “will continue to perpetuate this idea that artists will make art for free and that we can disrespect them.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CBygQVZhC1v/\u003c/p>\n\u003cp>“From the Black Cultural Zone specifically, we really wanted to be documenters of the documentation,” Belle says. “We don’t want to own a movement, but it is important that a Black voice holds this conversation. As people are saying that this feels different, we’ve got to make sure it \u003ci>is\u003c/i> different.”\u003c/p>\n\u003cp>[aside postID='arts_13881529']In this vein, Betti Ono Gallery is hosting a conversation on Thursday, June 25, for Black artists and community members to collectively decide how to honor, preserve and protect the art. Possible outcomes Belle lists off include reinstallation of the murals in a lot in East Oakland, a spot the Black Cultural Zone currently uses as a distribution point for hot meals, produce and other supplies. Or, he says, “Some of the panels could be used to build something semi-permanent.” An in-depth immersive exhibition incorporating video footage of the murals, or something similar, could take place several years down the road.\u003c/p>\n\u003cp>“We have no interest in nor would we support privatizing this art other than in the hands of the artists and support of our Black community,” the Black Cultural Zone writes in the description for Thursday’s event.\u003c/p>\n\u003cp>But as discussions about how to collect and preserve the murals continue, many of the artworks are already coming down—and only some of their destinations are known.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13868732/cece-carpio\" target=\"_blank\" rel=\"noopener noreferrer\">Cece Carpio\u003c/a> and the \u003ca href=\"http://www.trustyourstruggle.com/a/\" target=\"_blank\" rel=\"noopener noreferrer\">Trust Your Struggle Collective\u003c/a> painted three murals in downtown Oakland. “We just went forward and protested the way we knew how, which is to paint up the streets,” she says. They weren’t thinking, at the time, about the future of their work.\u003c/p>\n\u003cp>https://www.instagram.com/p/CBCYs9fhTF0/\u003c/p>\n\u003cp>One of those murals—featuring five raised hands and fists and the text “We Got Us” over the boarded-up doors of a Chase bank—became the backdrop for an altar to those killed by police violence. When workers later arrived with the task of removing the plywood to create an entrance to the building, they refused to dismantle the altar.\u003c/p>\n\u003cp>“They saw our crew name and made the call to make sure this is preserved,” Carpio says. “It was very lucky and fortunate that it was within the community of folks.” Carpio was able to call her friends to move the altar, and the workers delivered the plywood boards directly to her own Oakland backyard.\u003c/p>\n\u003cp>Other muralists say they too thought only passingly about the future of their murals as they worked to get them up. Estella Tse and Sofia Sharpe, who both grew up in Oakland, painted a mural in honor of Breonna Taylor on June 5—what would have been her 27th birthday.\u003c/p>\n\u003cp>“Her name was kind of getting swept in between larger events happening around her, and she wasn’t getting a lot of the recognition for the justice she deserved,” Sharpe says of the impulse behind their painting. Only one of the three officers who shot Taylor has been fired; the other two have been placed on administrative reassignment, and none have been charged.\u003c/p>\n\u003cfigure id=\"attachment_13881568\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The mural in honor of Breonna Taylor’s 27th birthday, painted by Sofia Sharpe and Estella Tse. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sharpe echoes the Black Cultural Zone’s desire to place the murals within the context of the movement for racial justice. “It’s not just about murals, but about everything that is happening and has led up to it and where it’s going from there,” Sharpe says.\u003c/p>\n\u003cp>Objects can tell powerful stories, which is why conversations about how to preserve and honor items related to the Black Lives Matter movement and the latest uprisings are happening at both the grassroots community level and in national organizations. Coalition building and the centering of Black voices is key: The National Museum of African American History and Culture, the National Museum of American History and the Anacostia Community Museum \u003ca href=\"https://nmaahc.si.edu/about/news/statement-efforts-collect-objects-lafayette-square\" rel=\"noopener noreferrer\" target=\"_blank\">recently announced\u003c/a> a collective effort to document and preserve “expressions of protest and hope” from Lafayette Square in Washington, D.C. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You never know what stories artifacts and objects will tell,” Fogarty says, pointing to architectural fragments exhibited in OMCA’s \u003ci>\u003ca href=\"https://museumca.org/exhibit/all-power-people-black-panthers-50\" rel=\"noopener noreferrer\" target=\"_blank\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i>, testaments to the physical destruction of the Black community. While it’s difficult to know exactly which objects will speak most loudly a half century from now, the mistakes of the past can be illuminating. “We’re very mindful of what the museum was not collecting in 1968,” Fogarty says.\u003c/p>\n\u003cp>For Tse and Sharpe, whether or not their own work is preserved is less important to them than the messages the murals contain, and how the desire to document those messages illustrates art’s place in social movements.\u003c/p>\n\u003cp>“We can see from this how art heals, there is an impact, there is a purpose for art,” Tse says. Citing the difficult and long process of going through official channels to create public art, she adds, “I just hope there’s more opportunities for artists to make art like this in very challenging times.”\u003c/p>\n\u003cp>Carpio agrees: “I feel like this is one way to mark this moment and is also another way of really showing that what artists can contribute to a movement, and how we can envision a different future than what we normally have lived, prior to the pandemic and prior to the uprising.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Efforts to preserve dozens of murals—and their messages—are underway in downtown Oakland.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes the energy of a movement looks like the \u003ca href=\"https://twitter.com/LinaBlanco/status/1274059418770927616\" rel=\"noopener noreferrer\" target=\"_blank\">mass mobilization of people marching towards a common goal\u003c/a>, and sometimes it’s hundreds of square feet of painted plywood.\u003c/p>\n\u003cp>In May, as protests in response to the killing of George Floyd by Minneapolis police officer Derek Chauvin began in downtown Oakland, businesses covered their storefronts with plywood, inadvertently creating surfaces primed for messages of liberation and solidarity. In the days that followed, artists and volunteers lined the sidewalks with buckets and spray cans of paint, putting up Cornel West quotes, Black Power imagery and, over and over again, the names of those killed by police.\u003c/p>\n\u003cp>Almost as soon as these large-scale murals went up, people \u003ca href=\"https://twitter.com/is_a_lau/status/1270374072166178817\" rel=\"noopener noreferrer\" target=\"_blank\">began asking\u003c/a> how the ephemeral pieces of public art could be preserved.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“The consensus is that this is an important time,” says Randolph Belle, spokesperson for the \u003ca href=\"https://www.blackculturalzone.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Cultural Zone\u003c/a>, a coalition of Black residents, leaders and organizers working to keep Black culture and people in East Oakland. “The movement is what we’re most concerned with. But the artwork is obviously a result of the protests, and the protests are a result of the historical injustices.”\u003c/p>\n\u003cp>The Black Cultural Zone, \u003ca href=\"https://bettiono.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Betti Ono Gallery\u003c/a>, and other Black-led arts organizations, with support from ally organizations like the Oakland Museum and Oakland Art Murmur, are now attempting to bring some order to the preservation of murals that emerged spontaneously and without centralized coordination. The Black Cultural Zone has launched an \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScwvM8ZV7Ln2CwiPtCyywTaPzE0xwTw2jXDB9947Z1rbLj1lw/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">online form\u003c/a> to help identify artists and artworks, which business owners or landlords can use to let the group know if they’re planning to remove a mural.\u003c/p>\n\u003cp>(Endeavors, a project affiliated with Oakland’s Good Mother Gallery, has simultaneously created \u003ca href=\"https://www.endeavors-oakland.com/home-copy\" target=\"_blank\" rel=\"noopener noreferrer\">an online gallery\u003c/a> of mural documentation, also hosts a form which promises to notify artists when their boards are removed.)\u003c/p>\n\u003cfigure id=\"attachment_13881569\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, certain questions linger: Should pieces go back to the artists, stay with the businesses, go into archival storage, or remain on view at another public location?\u003c/p>\n\u003cp>Oakland Museum of California Director Lori Fogarty underscores Belle’s point about focusing on the movement, first and foremost, over the murals. Though the institution was on \u003ca href=\"https://twitter.com/Bethpikegirl/status/1270023479228686342\" target=\"_blank\" rel=\"noopener noreferrer\">many minds\u003c/a> as a \u003ca href=\"https://twitter.com/OKcouncil/status/1270033041319026688\" target=\"_blank\" rel=\"noopener noreferrer\">possible home\u003c/a> for the murals, Fogarty says the museum isn’t yet looking to accession artwork or schedule an exhibition. Instead, OMCA is providing logistical support to the preservation efforts.\u003c/p>\n\u003cp>“Black-led organizations and artists need to be at the forefront,” Fogarty says. “It is a paradigm shift we need to acknowledge and honor at every step.”\u003c/p>\n\u003cp>Curator and arts organizer \u003ca href=\"https://artistasfirstrespondercom.godaddysites.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ashara Ekundayo\u003c/a> watched the murals go up, visiting the downtown gallery every day. She says early on her conversations with artists raised red flags about the challenges of documenting and preserving the murals. “What alarmed me was that very few of the artists had thought about the importance and value of their work, and what could happen to it without them knowing and being credited or compensated,” she says. \u003c/p>\n\u003cp>She also noticed racial and cultural dynamics playing out in the murals: white artists were being commissioned to write “Black Lives Matter” on boarded-up storefronts and Black artists were not being paid for their work. Not acknowledging the artwork as valuable, particularly the work of Black artists, Ekundayo says, “will continue to perpetuate this idea that artists will make art for free and that we can disrespect them.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“From the Black Cultural Zone specifically, we really wanted to be documenters of the documentation,” Belle says. “We don’t want to own a movement, but it is important that a Black voice holds this conversation. As people are saying that this feels different, we’ve got to make sure it \u003ci>is\u003c/i> different.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In this vein, Betti Ono Gallery is hosting a conversation on Thursday, June 25, for Black artists and community members to collectively decide how to honor, preserve and protect the art. Possible outcomes Belle lists off include reinstallation of the murals in a lot in East Oakland, a spot the Black Cultural Zone currently uses as a distribution point for hot meals, produce and other supplies. Or, he says, “Some of the panels could be used to build something semi-permanent.” An in-depth immersive exhibition incorporating video footage of the murals, or something similar, could take place several years down the road.\u003c/p>\n\u003cp>“We have no interest in nor would we support privatizing this art other than in the hands of the artists and support of our Black community,” the Black Cultural Zone writes in the description for Thursday’s event.\u003c/p>\n\u003cp>But as discussions about how to collect and preserve the murals continue, many of the artworks are already coming down—and only some of their destinations are known.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13868732/cece-carpio\" target=\"_blank\" rel=\"noopener noreferrer\">Cece Carpio\u003c/a> and the \u003ca href=\"http://www.trustyourstruggle.com/a/\" target=\"_blank\" rel=\"noopener noreferrer\">Trust Your Struggle Collective\u003c/a> painted three murals in downtown Oakland. “We just went forward and protested the way we knew how, which is to paint up the streets,” she says. They weren’t thinking, at the time, about the future of their work.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of those murals—featuring five raised hands and fists and the text “We Got Us” over the boarded-up doors of a Chase bank—became the backdrop for an altar to those killed by police violence. When workers later arrived with the task of removing the plywood to create an entrance to the building, they refused to dismantle the altar.\u003c/p>\n\u003cp>“They saw our crew name and made the call to make sure this is preserved,” Carpio says. “It was very lucky and fortunate that it was within the community of folks.” Carpio was able to call her friends to move the altar, and the workers delivered the plywood boards directly to her own Oakland backyard.\u003c/p>\n\u003cp>Other muralists say they too thought only passingly about the future of their murals as they worked to get them up. Estella Tse and Sofia Sharpe, who both grew up in Oakland, painted a mural in honor of Breonna Taylor on June 5—what would have been her 27th birthday.\u003c/p>\n\u003cp>“Her name was kind of getting swept in between larger events happening around her, and she wasn’t getting a lot of the recognition for the justice she deserved,” Sharpe says of the impulse behind their painting. Only one of the three officers who shot Taylor has been fired; the other two have been placed on administrative reassignment, and none have been charged.\u003c/p>\n\u003cfigure id=\"attachment_13881568\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The mural in honor of Breonna Taylor’s 27th birthday, painted by Sofia Sharpe and Estella Tse. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sharpe echoes the Black Cultural Zone’s desire to place the murals within the context of the movement for racial justice. “It’s not just about murals, but about everything that is happening and has led up to it and where it’s going from there,” Sharpe says.\u003c/p>\n\u003cp>Objects can tell powerful stories, which is why conversations about how to preserve and honor items related to the Black Lives Matter movement and the latest uprisings are happening at both the grassroots community level and in national organizations. Coalition building and the centering of Black voices is key: The National Museum of African American History and Culture, the National Museum of American History and the Anacostia Community Museum \u003ca href=\"https://nmaahc.si.edu/about/news/statement-efforts-collect-objects-lafayette-square\" rel=\"noopener noreferrer\" target=\"_blank\">recently announced\u003c/a> a collective effort to document and preserve “expressions of protest and hope” from Lafayette Square in Washington, D.C. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You never know what stories artifacts and objects will tell,” Fogarty says, pointing to architectural fragments exhibited in OMCA’s \u003ci>\u003ca href=\"https://museumca.org/exhibit/all-power-people-black-panthers-50\" rel=\"noopener noreferrer\" target=\"_blank\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i>, testaments to the physical destruction of the Black community. While it’s difficult to know exactly which objects will speak most loudly a half century from now, the mistakes of the past can be illuminating. “We’re very mindful of what the museum was not collecting in 1968,” Fogarty says.\u003c/p>\n\u003cp>For Tse and Sharpe, whether or not their own work is preserved is less important to them than the messages the murals contain, and how the desire to document those messages illustrates art’s place in social movements.\u003c/p>\n\u003cp>“We can see from this how art heals, there is an impact, there is a purpose for art,” Tse says. Citing the difficult and long process of going through official channels to create public art, she adds, “I just hope there’s more opportunities for artists to make art like this in very challenging times.”\u003c/p>\n\u003cp>Carpio agrees: “I feel like this is one way to mark this moment and is also another way of really showing that what artists can contribute to a movement, and how we can envision a different future than what we normally have lived, prior to the pandemic and prior to the uprising.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Dancing an Indigenous Future: Native American Hip-Hop and Freestyle in Albuquerque",
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"content": "\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD-Albuquerque-304-Content-Description.pdf\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>“Never trust a spiritual leader who cannot dance,” says Randy L. Barton, a.k.a. \u003ca href=\"https://www.instagram.com/randy_boogie/\" target=\"_blank\" rel=\"noopener noreferrer\">Randy Boogie\u003c/a> (Diné), a multidisciplinary artist, dancer, DJ and early figure in the Southwestern hip-hop scene. It’s simultaneously a joke and a serious statement: dance is a time-honored expression of community. And over time, hip-hop has become another reason to gather, the music and dance forms intimately entwined—for performers like \u003ca href=\"https://www.instagram.com/aunsica/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Pesata\u003c/a> and \u003ca href=\"https://www.instagram.com/raven_paven_11/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Raven Bright\u003c/a>—with their Indigenous identity.\u003c/p>\n\u003cp>“There’s all these different styles within this community [of people] who are all expressing their love for hip-hop within the same environment as is in powwow,” says Pesata (Jicarilla Apache), who describes the scene as inter-tribal.\u003c/p>\n\u003cp>The city of Albuquerque, on occupied Tewa lands, figures prominently in creating this inter-tribal dynamic. It’s a place where Indigenous people of different backgrounds—the state is home to 19 Pueblos, three Apache tribes and the Navajo Nation—gather to share their cultures and experiences.\u003c/p>\n\u003cfigure id=\"attachment_13882354\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AnneRaven.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882354 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AnneRaven-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancers Raven Bright and Anne Pesata. Photo by Shaandiin Tome.\u003c/figcaption>\u003c/figure>\n\u003cp>Albuquerque is also where Pesata met Raven Bright (Diné) at \u003ca href=\"https://elreylive.com/event/353463/18th-Annual-Breakin-Hearts-All-Ages-Hip-Hop-Event\">Breakin’ Hearts\u003c/a>, an annual dance battle, their dance partnership later becoming a relationship. Both dancers are shy by nature, but the warmth of Albuquerque’s dance community brought them out of their shells. “I didn’t want to be judged,” says Pesata of her tendency to keep her dancing private. “Learning that other people did the same thing, but in front of others, was shocking to me. To see so many people sharing it and being creative with one another so openly—it was really inspiring.”\u003c/p>\n\u003cp>Their stories start in different places. Pesata, who grew up on the Jicarilla Apache reservation in Dulce, participated in traditional dance ceremonies and powwows from a young age. Hip-hop always spoke to her, she says, in a way pop music never did. “Hip-hop is made by the people, for the people,” she says. “Hip-hop is definitely its own culture and it definitely comes from specific places, inner city experiences. But there’s something about the things that they talk about, the struggles that they go through…being from the rez, I experienced similar things.”\u003c/p>\n\u003cp>Meanwhile, Bright grew up 200 miles away, in the border town of Gallup, and didn’t connect to his Indigenous heritage (his father is Diné, or Navajo, and his mother is white) until later, when he began to spend more time on the Navajo reservation. “There were two separate worlds,” Bright says of Gallup and the reservation, “and being able to be a part of hip-hop culture helped me connect those worlds together.”\u003c/p>\n\u003cfigure id=\"attachment_13882371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dj Randy L. Barton aka Randy Boogie at the Breakin’ Hearts event in Albuquerque. Photo by Austin Madrid. \u003ccite>(Austin Madrid)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Randy Boogie is part of Bright’s story—the two met in Gallup when Randy was doing hip-hop workshops with his Indigenous dance crew Foundations of Freedom, which he started in 2002. Bright is part of the crew’s second generation. At gatherings like The Sacred Cypher, an event where ceremony, hip-hop and powwow cultures unite. For Randy, the connections between Indigenous traditions and hip-hop are obvious: “The DJ is the drumming. The emcee is the chanting. The graffiti art is the petroglyphs.”\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/2MuCoT4Zj1UNnbCvUZk20j\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13882355\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_7502ShaandiinTome-160x120.jpeg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director/DP Shaandiin Tome with dancers Anne Pesata and Raven Bright. Photo by Forrest Goodluck. \u003ccite>(Forrest Goodluck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This expansion on what Indigenous dance is and can be is at the heart of Pesata and Bright’s freestyle movements, which are informed by hip-hop as much as they are by contemporary Indigenous dance. Both are members of \u003ca href=\"https://dancingearth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dancing Earth\u003c/a>, a dance company founded by Rulan Tangen that brings performers together from many Indigenous communities. \u003ca href=\"https://dancingearth.org/btw-us-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Recent productions\u003c/a> have explored renewable energy and Indigenous ecological knowledge with movements decolonized from Western forms.\u003c/p>\n\u003cp>To Pesata and Bright, the dance style they’ve developed isn’t just about honoring the past, but creating a base for the future, one that doesn’t rely on narrow definitions and stereotypes—for art forms or people. “When I dance I am experiencing the relationship with the music,” Pesata says. “So putting a label and a name on something that’s that personal and that spiritual is kind of a disservice.”\u003c/p>\n\u003cp>In the end, Bright agrees, it’s about finding oneself through movement and music: “When you go out into a circle and move your body, that’s the truest form of yourself that you’re giving off.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Explore our virtual story map and learn more about the murals and locations featured in this episode of If Cities Could Dance. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-albuquerque/draft.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: KQED Arts’ award-winning video series \u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8Kh9ohLGAYIVzVb-TKwEAxER\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is back for a third season! In each episode, meet dancers across the country representing their city’s signature moves. New episodes premiere every two weeks. \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ICCD-Albuquerque-304-Content-Description.pdf\">Download Content Description.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>“Never trust a spiritual leader who cannot dance,” says Randy L. Barton, a.k.a. \u003ca href=\"https://www.instagram.com/randy_boogie/\" target=\"_blank\" rel=\"noopener noreferrer\">Randy Boogie\u003c/a> (Diné), a multidisciplinary artist, dancer, DJ and early figure in the Southwestern hip-hop scene. It’s simultaneously a joke and a serious statement: dance is a time-honored expression of community. And over time, hip-hop has become another reason to gather, the music and dance forms intimately entwined—for performers like \u003ca href=\"https://www.instagram.com/aunsica/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Pesata\u003c/a> and \u003ca href=\"https://www.instagram.com/raven_paven_11/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Raven Bright\u003c/a>—with their Indigenous identity.\u003c/p>\n\u003cp>“There’s all these different styles within this community [of people] who are all expressing their love for hip-hop within the same environment as is in powwow,” says Pesata (Jicarilla Apache), who describes the scene as inter-tribal.\u003c/p>\n\u003cp>The city of Albuquerque, on occupied Tewa lands, figures prominently in creating this inter-tribal dynamic. It’s a place where Indigenous people of different backgrounds—the state is home to 19 Pueblos, three Apache tribes and the Navajo Nation—gather to share their cultures and experiences.\u003c/p>\n\u003cfigure id=\"attachment_13882354\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AnneRaven.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882354 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AnneRaven-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AnneRaven.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancers Raven Bright and Anne Pesata. Photo by Shaandiin Tome.\u003c/figcaption>\u003c/figure>\n\u003cp>Albuquerque is also where Pesata met Raven Bright (Diné) at \u003ca href=\"https://elreylive.com/event/353463/18th-Annual-Breakin-Hearts-All-Ages-Hip-Hop-Event\">Breakin’ Hearts\u003c/a>, an annual dance battle, their dance partnership later becoming a relationship. Both dancers are shy by nature, but the warmth of Albuquerque’s dance community brought them out of their shells. “I didn’t want to be judged,” says Pesata of her tendency to keep her dancing private. “Learning that other people did the same thing, but in front of others, was shocking to me. To see so many people sharing it and being creative with one another so openly—it was really inspiring.”\u003c/p>\n\u003cp>Their stories start in different places. Pesata, who grew up on the Jicarilla Apache reservation in Dulce, participated in traditional dance ceremonies and powwows from a young age. Hip-hop always spoke to her, she says, in a way pop music never did. “Hip-hop is made by the people, for the people,” she says. “Hip-hop is definitely its own culture and it definitely comes from specific places, inner city experiences. But there’s something about the things that they talk about, the struggles that they go through…being from the rez, I experienced similar things.”\u003c/p>\n\u003cp>Meanwhile, Bright grew up 200 miles away, in the border town of Gallup, and didn’t connect to his Indigenous heritage (his father is Diné, or Navajo, and his mother is white) until later, when he began to spend more time on the Navajo reservation. “There were two separate worlds,” Bright says of Gallup and the reservation, “and being able to be a part of hip-hop culture helped me connect those worlds together.”\u003c/p>\n\u003cfigure id=\"attachment_13882371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/004-Final-cut-CC.00_01_22_02.Still007.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dj Randy L. Barton aka Randy Boogie at the Breakin’ Hearts event in Albuquerque. Photo by Austin Madrid. \u003ccite>(Austin Madrid)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Randy Boogie is part of Bright’s story—the two met in Gallup when Randy was doing hip-hop workshops with his Indigenous dance crew Foundations of Freedom, which he started in 2002. Bright is part of the crew’s second generation. At gatherings like The Sacred Cypher, an event where ceremony, hip-hop and powwow cultures unite. For Randy, the connections between Indigenous traditions and hip-hop are obvious: “The DJ is the drumming. The emcee is the chanting. The graffiti art is the petroglyphs.”\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/2MuCoT4Zj1UNnbCvUZk20j\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13882355\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_7502ShaandiinTome.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/IMG_7502ShaandiinTome-160x120.jpeg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director/DP Shaandiin Tome with dancers Anne Pesata and Raven Bright. Photo by Forrest Goodluck. \u003ccite>(Forrest Goodluck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This expansion on what Indigenous dance is and can be is at the heart of Pesata and Bright’s freestyle movements, which are informed by hip-hop as much as they are by contemporary Indigenous dance. Both are members of \u003ca href=\"https://dancingearth.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dancing Earth\u003c/a>, a dance company founded by Rulan Tangen that brings performers together from many Indigenous communities. \u003ca href=\"https://dancingearth.org/btw-us-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Recent productions\u003c/a> have explored renewable energy and Indigenous ecological knowledge with movements decolonized from Western forms.\u003c/p>\n\u003cp>To Pesata and Bright, the dance style they’ve developed isn’t just about honoring the past, but creating a base for the future, one that doesn’t rely on narrow definitions and stereotypes—for art forms or people. “When I dance I am experiencing the relationship with the music,” Pesata says. “So putting a label and a name on something that’s that personal and that spiritual is kind of a disservice.”\u003c/p>\n\u003cp>In the end, Bright agrees, it’s about finding oneself through movement and music: “When you go out into a circle and move your body, that’s the truest form of yourself that you’re giving off.” \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Explore our virtual story map and learn more about the murals and locations featured in this episode of If Cities Could Dance. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://uploads.knightlab.com/storymapjs/4d72621d07063db4c4778f6461829723/if-cities-could-dance-albuquerque/draft.html\" frameborder=\"0\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls",
"title": "PHOTOS: Oakland’s Black Lives Matter Murals Call for Justice",
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"content": "\u003cp>Over the last week, Oaklanders have risen up in solidarity with protestors in Minneapolis, Louisville and cities across the country to denounce police violence and systemic, anti-black racism. Tens of thousands of people marching have called for the city to defund or abolish the police, and have advocated for bringing the killers of George Floyd, Breonna Taylor, Tony McDade and other black victims of violence to justice. While the protests have mostly been peaceful, some have resulted in broken windows and graffiti that drastically changed the face of the city.\u003c/p>\n\u003cp>Over the weekend, local artists came together to cover Oakland’s streets with murals that bear remembrances, messages of solidarity with the black community, outrage and visions for a more equitable future. \u003ca href=\"https://twitter.com/jacknicas/status/1269758998171004930?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">On 15th Street\u003c/a>, artists wrote the words “Black Lives Matter” in enormous letters that spanned three blocks.\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.instagram.com/heyitsthemomlife/\" target=\"_blank\" rel=\"noopener noreferrer\">Cianni Jackson\u003c/a> was at the scene. —\u003cem>Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> KQED tried to credit the artists whenever possible, but not all the murals were signed. Email \u003ca href=\"mailto:nvoynovskaya@kqed.org\" target=\"_blank\" rel=\"noopener noreferrer\">nvoynovskaya@kqed.org\u003c/a> to have an artist’s name added. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13881557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by DeredWRK (@deredwrk). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by T. Banks (@reallyfebanksy). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @studionoiroakland. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-800x600.jpg\" alt=\"A Black Lives Matter mural in downtown Oakland by @studionoiroakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881579\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881577\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Divya Bala (@divyabala). \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Skyline High School students. (@_lemons_draw, @meyerlemonsketches, @happyemoart, @kaiadesigncircle, @rachelkantor.skyline) \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881575\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @justblaze88tats. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13881568 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Sofia Sharpe and Estella Tse (@filosa_sofia and @estellatse). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Keene Visionz. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Christian Muñoz (@kilimunoz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Sarah Siskin (@ssiskin). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881561\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Keena (@lamakina510), Leslie Dime Lopez (@ladimeuna) and Few and Far Women (@fewandfarwomen). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Gaia (@gaiaw.xyz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Gaia (@gaiaw.xyz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Maxx Slaughter (@maxxslaughter). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by C. Gazaleh (@c.gazaleh). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @girlmobb. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @girlmobb. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Artists covered Oakland’s streets with murals that bear remembrances, messages of solidarity, outrage and visions for an equitable future.",
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"title": "PHOTOS: Oakland’s Black Lives Matter Murals Call for Justice | KQED",
"description": "Artists covered Oakland’s streets with murals that bear remembrances, messages of solidarity, outrage and visions for an equitable future.",
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"headline": "PHOTOS: Oakland’s Black Lives Matter Murals Call for Justice",
"datePublished": "2020-06-08T17:19:43-07:00",
"dateModified": "2024-09-19T09:05:31-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the last week, Oaklanders have risen up in solidarity with protestors in Minneapolis, Louisville and cities across the country to denounce police violence and systemic, anti-black racism. Tens of thousands of people marching have called for the city to defund or abolish the police, and have advocated for bringing the killers of George Floyd, Breonna Taylor, Tony McDade and other black victims of violence to justice. While the protests have mostly been peaceful, some have resulted in broken windows and graffiti that drastically changed the face of the city.\u003c/p>\n\u003cp>Over the weekend, local artists came together to cover Oakland’s streets with murals that bear remembrances, messages of solidarity with the black community, outrage and visions for a more equitable future. \u003ca href=\"https://twitter.com/jacknicas/status/1269758998171004930?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">On 15th Street\u003c/a>, artists wrote the words “Black Lives Matter” in enormous letters that spanned three blocks.\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.instagram.com/heyitsthemomlife/\" target=\"_blank\" rel=\"noopener noreferrer\">Cianni Jackson\u003c/a> was at the scene. —\u003cem>Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> KQED tried to credit the artists whenever possible, but not all the murals were signed. Email \u003ca href=\"mailto:nvoynovskaya@kqed.org\" target=\"_blank\" rel=\"noopener noreferrer\">nvoynovskaya@kqed.org\u003c/a> to have an artist’s name added. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13881557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by DeredWRK (@deredwrk). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by T. Banks (@reallyfebanksy). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @studionoiroakland. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-800x600.jpg\" alt=\"A Black Lives Matter mural in downtown Oakland by @studionoiroakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881579\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881577\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Divya Bala (@divyabala). \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Skyline High School students. (@_lemons_draw, @meyerlemonsketches, @happyemoart, @kaiadesigncircle, @rachelkantor.skyline) \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881575\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @justblaze88tats. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13881568 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Sofia Sharpe and Estella Tse (@filosa_sofia and @estellatse). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Keene Visionz. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Christian Muñoz (@kilimunoz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Sarah Siskin (@ssiskin). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881561\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Keena (@lamakina510), Leslie Dime Lopez (@ladimeuna) and Few and Far Women (@fewandfarwomen). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Gaia (@gaiaw.xyz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Gaia (@gaiaw.xyz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Maxx Slaughter (@maxxslaughter). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by C. Gazaleh (@c.gazaleh). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @girlmobb. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @girlmobb. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Updated WPA-Style Art for a Green New Deal",
"headTitle": "Updated WPA-Style Art for a Green New Deal | KQED",
"content": "\u003cp>You’ve probably been hearing the words “Green New Deal” in this election cycle. The term describes a series of policy changes and legislation to address the climate crisis, modeled loosely on President Roosevelt’s New Deal of the 1930s that helped pull the country out of the Great Depression. \u003c/p>\n\u003cp>One thing Roosevelt’s New Deal did was to pay artists to create murals and prints promoting civic engagement, public health, education and the arts. Some of those murals still live today in San Francisco: in the lobby of \u003ca href=\"https://livingnewdeal.org/tag/coit-tower/\" rel=\"noopener noreferrer\" target=\"_blank\">Coit Tower\u003c/a>, as just one example, or at the old \u003ca href=\"https://livingnewdeal.org/projects/rincon-center-murals-san-francisco-ca/\" rel=\"noopener noreferrer\" target=\"_blank\">Rincon Annex Post Office\u003c/a>.\u003c/p>\n\u003cp>Now, artists have brought the Green New Deal to colorful life in a new exhibition of art in San Francisco. Some of it looks like the WPA style of New Deal murals, some like Victory Garden posters, some like war bonds advertisements. But instead, it promotes a more responsible approach to climate, renewable energy, and green jobs. The exhibition runs through March, with special events and panels every Friday, at Canessa Gallery in the North Beach neighborhood of San Francisco. \u003ca href=\"https://www.facebook.com/events/113220906785839/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"venueAddress": "708 Montgomery St., San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve probably been hearing the words “Green New Deal” in this election cycle. The term describes a series of policy changes and legislation to address the climate crisis, modeled loosely on President Roosevelt’s New Deal of the 1930s that helped pull the country out of the Great Depression. \u003c/p>\n\u003cp>One thing Roosevelt’s New Deal did was to pay artists to create murals and prints promoting civic engagement, public health, education and the arts. Some of those murals still live today in San Francisco: in the lobby of \u003ca href=\"https://livingnewdeal.org/tag/coit-tower/\" rel=\"noopener noreferrer\" target=\"_blank\">Coit Tower\u003c/a>, as just one example, or at the old \u003ca href=\"https://livingnewdeal.org/projects/rincon-center-murals-san-francisco-ca/\" rel=\"noopener noreferrer\" target=\"_blank\">Rincon Annex Post Office\u003c/a>.\u003c/p>\n\u003cp>Now, artists have brought the Green New Deal to colorful life in a new exhibition of art in San Francisco. Some of it looks like the WPA style of New Deal murals, some like Victory Garden posters, some like war bonds advertisements. But instead, it promotes a more responsible approach to climate, renewable energy, and green jobs. The exhibition runs through March, with special events and panels every Friday, at Canessa Gallery in the North Beach neighborhood of San Francisco. \u003ca href=\"https://www.facebook.com/events/113220906785839/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Throughout last year, the steel and concrete frame of a new building in downtown Oakland grew to obscure a sprawling mural. Protesters with picket signs disappeared from view, along with dancers, drummers and martial arts practitioners, leaving the faces of centerpieces Malonga Casquelourd and Ruth Beckford, pillars of the city’s black performing arts tradition. To passersby today the entire artwork is imperceptible behind an incoming housing development. [aside postID=arts_13861153,arts_13875113,arts_13866026,arts_13861121]\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em>, a forthcoming documentary by Spencer Wilkinson, shows how the \u003cem>Universal Language\u003c/em> mural’s creation and erasure alike catalyzed a multiracial anti-gentrification coalition with significant, ongoing effects on real estate development and city planning in downtown Oakland. Set in just a few city blocks, it’s a story about intractable loss as well as collective refusal, depicting artists’ role in grassroots activism that builds power by bridging communities.\u003c/p>\n\u003cp>Wilkinson, 44, an Oakland filmmaker whose first feature, \u003cem>One Voice\u003c/em> (2018), focused on the Oakland Interfaith Gospel Choir, did not anticipate filming for five years when he started chronicling the mural’s design as part of a work-trade deal in 2014. Now he’s submitting the 70-minute \u003cem>\u003ca href=\"https://alicestreetfilm.com/\">Alice Street\u003c/a>\u003c/em> documentary to film festivals and arranging screenings in other cities grappling with gentrification. Wilkinson expects to announce more Bay Area screenings in the coming months.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=1lJRPZLuY9c&w=560&h=315]\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em> begins with Destiny Muhammad reciting a poem at the corner of 14th and Alice streets in downtown Oakland to subtle, vaguely religious music by Micah Berek. “An intersection of traditions, ancient rhythms, culture keepers and urban oracles,” she says. A montage shows the neighborhood’s cultural diversity and changing built environment. The credits roll, framed by cranes. Imposed on aerial footage of the low-slung flatlands are sharply rising housing costs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film shortly settles on aerosol artist Desi Mundo and studio painter Pancho Pescador of the Community Rejuvenation Project embarking on their largest mural yet: Four walls around a parking lot at Alice and 14th streets. For inspiration, they look directly across the street to the Malonga Casquelourd Center for the Arts, a historic city-owned hub of Afro-diasporic drumming and dance, and also to the Chinatown senior apartments and community center Hotel Oakland.\u003c/p>\n\u003cp>The story has no single conflict or antagonist. The challenge at first appears to be the muralists’ desire to represent two communities to which they’re admitted outsiders, and the project’s most outspoken opponent is an elderly white woman who objects to its exclusion of white people. As soon as the mural is designed and painted to the satisfaction of most neighborhood stakeholders, though, a housing development proposal threatens to render it totally invisible.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2014/07/Mural-Wide.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014.' width=\"800\" height=\"533\" class=\"size-full wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the Bay Area are starting to see the benefits of Oakland,” says Maria Poncel of Bay Development, explaining to Mundo and Pescador that the mural will continue to exist behind the planned 16-story tower. “We’re going through sort of a second renaissance.” It’s one of several awkward remarks from developers, property owners and elected officials (has Mayor Libby Schaaf retired “secret sauce”?) that Wilkinson seems to highlight for their evident shallowness.\u003c/p>\n\u003cp>Halfway through the documentary, then, the mural intended to celebrate cultures at risk of displacement itself confronts disappearance, multiplying its symbolic potency. And the Malonga-Hotel Oakland bloc strengthened through the mural’s development acquires political power that Wilkinson—using interviews and historical flashbacks about racist city planning practices and housing discrimination in Oakland—casts in a longer lineage of racial solidarity.\u003c/p>\n\u003cp>The goal of the new coalition isn’t immediately evident in the documentary. Theo Williams, leader of Malonga tenant SambaFunk, says at a meeting that he doesn’t necessarily oppose the development, yet no one in the film persuasively argues on its behalf. Complicating the narrative are new problems: Noise complaints resurface concerns about intolerant new neighbors to the Malonga, and the activists crash a city planning process, demanding meaningful representation.\u003c/p>\n\u003cfigure id=\"attachment_13875809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg\" alt=\"The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts.\" width=\"1920\" height=\"1069\" class=\"size-full wp-image-13875809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-1020x568.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unsurprisingly for grassroots activism, it’s a dizzying cycle of setback and success. A subplot about Jerry Brown’s early 2000s attempt as Oakland mayor to shutter what was then the Alice Arts Center is a welcome rejoinder to recent hagiography, but it creates some narrative whiplash. Still, the story regains focus when the coalition formally appeals the building’s planning commission approval in order to negotiate a community benefits agreement with the developer.\u003c/p>\n\u003cp>The coalition secured funds for the Malonga and for a replacement mural (now being designed for the wall of the Greenlining Institute nearby). It also modeled a strategy since used by the coalition to extract concessions from developers worth an estimated $20 million, organizer Eric Arnold says in the film—including 90 affordable homes. With this tactic the same activists \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently won\u003c/a> a raft of benefits for arts groups in the Kaiser Convention Center redevelopment.\u003c/p>\n\u003cp>“Resilience” is too often a buzzword that serves to normalize communities’ capacity to withstand abuse, especially from the mouths of powerful people in media and politics. It’s also too flat for the dynamic artist-activists shown in \u003cem>Alice Street\u003c/em>, who dance in the streets and navigate city bureaucracy with equal verve. “And then we marched over to the planning office,” recalls Arnold of one decisive action. “It was probably the first time they’ve heard music inside of that office.”\u003c/p>\n\u003cfigure id=\"attachment_13875810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg\" alt=\"The 'Universal Language' mural is today completely obscured by a housing development.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Universal Language’ mural is today completely obscured by a housing development. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inevitably some of the story lines in \u003cem>Alice Street\u003c/em> go unresolved. The cultural stabilization strategies in the Downtown Oakland Specific Plan published last year derive partly from activism shown in the film, but supporters are \u003ca href=\"https://www.kqed.org/arts/13866026/will-oaklands-new-plan-to-protect-downtown-arts-and-culture-succeed\">disappointed\u003c/a> with what little officials have done to enact them. Likewise, tenants of the city-owned Malonga continue to feel chronically neglected, with Williams of SambaFunk recently \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">telling KQED\u003c/a> its problems haven’t changed since 1998.\u003c/p>\n\u003cp>Still, the documentary also captures a heartening generational shift. Standout interviewees Beckford and Michael Lange, the actor and director, died before the film’s completion, but \u003cem>Alice Street\u003c/em> shows their commitment to Oakland’s cultural life enduring in Lailan Sandra Huen, Anyka Barber, Casquelourd’s son Kiazi Malonga and others. Wilkinson, meanwhile, is developing educational curriculum to promote the community benefits agreement model beyond Oakland.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It probably doesn’t feel like a silver lining to the muralists, but the four walls of \u003cem>Universal Language\u003c/em> haven’t been buffed or repainted. The artwork remains. Recently on Broadway, demolition exposed some mid-20th century advertisements on the side of a building, relics of a barely-recognizable city. It suggests the possibility that \u003cem>Universal Language\u003c/em> could daylight again in the lifetime of Oakland’s current residents. The question is who among us will be here to see.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em>, a forthcoming documentary by Spencer Wilkinson, shows how the \u003cem>Universal Language\u003c/em> mural’s creation and erasure alike catalyzed a multiracial anti-gentrification coalition with significant, ongoing effects on real estate development and city planning in downtown Oakland. Set in just a few city blocks, it’s a story about intractable loss as well as collective refusal, depicting artists’ role in grassroots activism that builds power by bridging communities.\u003c/p>\n\u003cp>Wilkinson, 44, an Oakland filmmaker whose first feature, \u003cem>One Voice\u003c/em> (2018), focused on the Oakland Interfaith Gospel Choir, did not anticipate filming for five years when he started chronicling the mural’s design as part of a work-trade deal in 2014. Now he’s submitting the 70-minute \u003cem>\u003ca href=\"https://alicestreetfilm.com/\">Alice Street\u003c/a>\u003c/em> documentary to film festivals and arranging screenings in other cities grappling with gentrification. Wilkinson expects to announce more Bay Area screenings in the coming months.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1lJRPZLuY9c'\n title='//www.youtube.com/embed/1lJRPZLuY9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em> begins with Destiny Muhammad reciting a poem at the corner of 14th and Alice streets in downtown Oakland to subtle, vaguely religious music by Micah Berek. “An intersection of traditions, ancient rhythms, culture keepers and urban oracles,” she says. A montage shows the neighborhood’s cultural diversity and changing built environment. The credits roll, framed by cranes. Imposed on aerial footage of the low-slung flatlands are sharply rising housing costs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film shortly settles on aerosol artist Desi Mundo and studio painter Pancho Pescador of the Community Rejuvenation Project embarking on their largest mural yet: Four walls around a parking lot at Alice and 14th streets. For inspiration, they look directly across the street to the Malonga Casquelourd Center for the Arts, a historic city-owned hub of Afro-diasporic drumming and dance, and also to the Chinatown senior apartments and community center Hotel Oakland.\u003c/p>\n\u003cp>The story has no single conflict or antagonist. The challenge at first appears to be the muralists’ desire to represent two communities to which they’re admitted outsiders, and the project’s most outspoken opponent is an elderly white woman who objects to its exclusion of white people. As soon as the mural is designed and painted to the satisfaction of most neighborhood stakeholders, though, a housing development proposal threatens to render it totally invisible.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2014/07/Mural-Wide.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014.' width=\"800\" height=\"533\" class=\"size-full wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the Bay Area are starting to see the benefits of Oakland,” says Maria Poncel of Bay Development, explaining to Mundo and Pescador that the mural will continue to exist behind the planned 16-story tower. “We’re going through sort of a second renaissance.” It’s one of several awkward remarks from developers, property owners and elected officials (has Mayor Libby Schaaf retired “secret sauce”?) that Wilkinson seems to highlight for their evident shallowness.\u003c/p>\n\u003cp>Halfway through the documentary, then, the mural intended to celebrate cultures at risk of displacement itself confronts disappearance, multiplying its symbolic potency. And the Malonga-Hotel Oakland bloc strengthened through the mural’s development acquires political power that Wilkinson—using interviews and historical flashbacks about racist city planning practices and housing discrimination in Oakland—casts in a longer lineage of racial solidarity.\u003c/p>\n\u003cp>The goal of the new coalition isn’t immediately evident in the documentary. Theo Williams, leader of Malonga tenant SambaFunk, says at a meeting that he doesn’t necessarily oppose the development, yet no one in the film persuasively argues on its behalf. Complicating the narrative are new problems: Noise complaints resurface concerns about intolerant new neighbors to the Malonga, and the activists crash a city planning process, demanding meaningful representation.\u003c/p>\n\u003cfigure id=\"attachment_13875809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg\" alt=\"The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts.\" width=\"1920\" height=\"1069\" class=\"size-full wp-image-13875809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-1020x568.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unsurprisingly for grassroots activism, it’s a dizzying cycle of setback and success. A subplot about Jerry Brown’s early 2000s attempt as Oakland mayor to shutter what was then the Alice Arts Center is a welcome rejoinder to recent hagiography, but it creates some narrative whiplash. Still, the story regains focus when the coalition formally appeals the building’s planning commission approval in order to negotiate a community benefits agreement with the developer.\u003c/p>\n\u003cp>The coalition secured funds for the Malonga and for a replacement mural (now being designed for the wall of the Greenlining Institute nearby). It also modeled a strategy since used by the coalition to extract concessions from developers worth an estimated $20 million, organizer Eric Arnold says in the film—including 90 affordable homes. With this tactic the same activists \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently won\u003c/a> a raft of benefits for arts groups in the Kaiser Convention Center redevelopment.\u003c/p>\n\u003cp>“Resilience” is too often a buzzword that serves to normalize communities’ capacity to withstand abuse, especially from the mouths of powerful people in media and politics. It’s also too flat for the dynamic artist-activists shown in \u003cem>Alice Street\u003c/em>, who dance in the streets and navigate city bureaucracy with equal verve. “And then we marched over to the planning office,” recalls Arnold of one decisive action. “It was probably the first time they’ve heard music inside of that office.”\u003c/p>\n\u003cfigure id=\"attachment_13875810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg\" alt=\"The 'Universal Language' mural is today completely obscured by a housing development.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Universal Language’ mural is today completely obscured by a housing development. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inevitably some of the story lines in \u003cem>Alice Street\u003c/em> go unresolved. The cultural stabilization strategies in the Downtown Oakland Specific Plan published last year derive partly from activism shown in the film, but supporters are \u003ca href=\"https://www.kqed.org/arts/13866026/will-oaklands-new-plan-to-protect-downtown-arts-and-culture-succeed\">disappointed\u003c/a> with what little officials have done to enact them. Likewise, tenants of the city-owned Malonga continue to feel chronically neglected, with Williams of SambaFunk recently \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">telling KQED\u003c/a> its problems haven’t changed since 1998.\u003c/p>\n\u003cp>Still, the documentary also captures a heartening generational shift. Standout interviewees Beckford and Michael Lange, the actor and director, died before the film’s completion, but \u003cem>Alice Street\u003c/em> shows their commitment to Oakland’s cultural life enduring in Lailan Sandra Huen, Anyka Barber, Casquelourd’s son Kiazi Malonga and others. Wilkinson, meanwhile, is developing educational curriculum to promote the community benefits agreement model beyond Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It probably doesn’t feel like a silver lining to the muralists, but the four walls of \u003cem>Universal Language\u003c/em> haven’t been buffed or repainted. The artwork remains. Recently on Broadway, demolition exposed some mid-20th century advertisements on the side of a building, relics of a barely-recognizable city. It suggests the possibility that \u003cem>Universal Language\u003c/em> could daylight again in the lifetime of Oakland’s current residents. The question is who among us will be here to see.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-mural-of-tom-hanks-and-too-short-in-oakland-goes-deeper-than-paint",
"title": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint",
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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\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\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>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\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>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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