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"content": "\u003cp>\u003cstrong>\u003ci>\u003ca href=\"https://www.kqed.org/hellahungry\">¡Hella Hungry!\u003c/a> is a series of interviews with Bay Area foodmakers exploring the region’s culinary innovations through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>You’d better make reservations ahead of time at \u003ca href=\"https://www.instagram.com/popoca.oakland/?hl=en\">Popoca\u003c/a>, chef Anthony Salguero’s chic eatery in Old Oakland. The lively Salvadoreño spot has become such a popular hangout that you’ll likely run into friends randomly (hello, Ricky and Olivia) during dinner.\u003c/p>\n\u003cp>The reason is simple: Popoca’s elevated cuisine, cocktails and decor are a reflection of Salguero’s Central American origins, where his parents immigrated from and where he learned how to prepare tamales using freshly made wild duck broth.\u003c/p>\n\u003cp>You can taste Salguero’s expansive love for El Salvador in each decision. It’s in the hint of honey and spice in his naranja y betabel en alguashte. It’s in the lemony butteriness of his wood-fired pupusas de hongo. And it’s in the generous smattering of beans, rice, sour cream and escabeche that you should order to accompany the banana leaf-wrapped vegetarian tamales.\u003c/p>\n\u003cfigure id=\"attachment_13954919\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954919 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED.jpg\" alt=\"Thick purple pupusas cooking on the griddle.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blue corn pupusas fry on the open grill. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s also in the people he has surrounded himself with — the servers, bartenders, kitchen hands. Everything feels intentional, genuine and joyfully interconnected in the service of helping each guest experience Popoca. And that’s exactly what Marisa Sanchez-Dunning is committed to showcasing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the founder of \u003ca href=\"https://www.instagram.com/ifonlycreative/?hl=en\">If Only Creative\u003c/a> — a Berkeley-based creative agency that supports dope East Bay destinations such as Popoca, \u003ca href=\"https://www.thisisdaytrip.com/\">DAYTRIP\u003c/a> and \u003ca href=\"https://www.burdelloakland.com/\">Burdell\u003c/a> — Sanchez-Dunning is fiercely aligned with those who share her sense of community values. A homegrown Chicana, she predominantly works with small business owners of color. She carved her way into the scene with her relentless hustle, building her studio from the ground up by hiring other women of color that represent the Bay Area she knows. Beyond providing photography, social media management and branding for a handful of local outlets, Sanchez-Dunning \u003ca href=\"https://www.kqed.org/arts/13928459/cinco-de-mayo-vegan-dinner-el-otro-lado-oakland\">hosts events to celebrate the Bay’s rich food traditions\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954975\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954975 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut.jpg\" alt=\"A restaurant server laughs as she takes an order from two customers sitting inside a sunny restaurant dining room.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">KQED reporter Alan Chazaro, left, and Marisa Sanchez-Dunning order their meal. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a bustling evening at Popoca, despite a persistent rainstorm, I connected with her to discuss her role as a connector in the East Bay’s diverse food and bev world. I’ll be clear: I don’t typically meet with creative directors, PR flaks or other folks who work on the marketing side of the food scene. But, like Sanchez-Dunning and Salguero, I believe in the importance of nurturing and expanding the local ecosystem, and seeing things from every perspective — and I can appreciate the unseen work that Sanchez-Dunning is doing.\u003c/p>\n\u003cp>In the Bay, sustaining your community can begin by simply sharing a soul-mending plate of pupusas with someone across the table.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: You’re not a foodmaker, but you work closely with chefs and small business owners throughout the Bay Area’s culinary scene. How did you enter the food world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Marisa Sanchez-Dunning:\u003c/b> My journey in food and hospitality started with my first job at 15 years old serving ice cream. Being in service, you get an appreciation for the whole spectrum. Eventually, I became a waitress. When I was 20, I worked at Peet’s and Scolari’s. I was working doubles, closing one shop late at night and opening another the next day. It’s all about the people you meet. You become a family, a community, and you realize how small the industry is here. That’s part of the Bay.\u003c/p>\n\u003cp>In college, I entered as a bio major, then I switched to journalism and ended up in marketing. I most enjoyed the creative classes: branding, design, photography. When I entered the 9 to 5 world, I started with branding and design agencies, and then I veered off to start my own agency through trial and error. I learned that my passion thrives the most in the food and bev industry. Bars, cafes, restaurants, CPGs.\u003c/p>\n\u003cp>\u003cb>A CPG?\u003c/b>\u003c/p>\n\u003cp>Oh, my bad. Consumer Packaged Goods. It’s an annoying acronym (laughs).\u003c/p>\n\u003cp>\u003cb>Word. That’s very corporate-y.\u003c/b>\u003c/p>\n\u003cp>I honestly try to stay away from that (laughs). For me, food is where [my agency] thrives creatively. That’s what we’re genuinely passionate about. As far as I know, we’re the only Chicana-owned agency doing this in the Bay. In my industry, I’m kind of like the only one that looks like me doing what I’m doing and supporting the clients that I’m supporting. And I think being in the Bay, there is an appreciation and excitement around seeing a Chicana. There’s a connection to our community.\u003c/p>\n\u003cfigure id=\"attachment_13954974\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cara cara orange slices and beets topped alguashte is one of the small plates offered at Popoca in Oakland, Calif., on March 22, 2024.\u003cbr>CREDIT: Marissa Leshnov for KQED \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What have you noticed working in the local food industry? Are there any trends right now?\u003c/b>\u003c/p>\n\u003cp>It’s really a mix, and I love that. One thing is that everyone is working their asses off. Places like Popoca are what I support. There’s a specific group of people in the Bay that don’t have any major investors, who don’t come from tons of privilege and tons of money. That takes a certain amount of working your ass off to get where they’ve gotten, and I see that. Those [business owners] have to think authentically and genuinely about every decision made, from working with me to their hiring practices and their vendor sourcing. They make sure everything is in line with their values. That’s also how I operate, for better or worse. Luckily I have a team of amazing women who are helping me out. It may take longer, and it may be harder, but it’s more gratifying. To be real, as a business owner in the Bay working in food and bev, it’s not easy.\u003c/p>\n\u003cp>\u003cb>We all can only do so much, and it can be draining. Finding that balance and intentionality is crucial. How can we keep our money and time in places that are deserving? And how can we increase access to experiences like Popoca?\u003c/b>\u003c/p>\n\u003cp>100%. I love going to places like this to support them. That’s basically what my entire role is with visual assets, videos, photos of the food and drinks. There’s so much beautiful storytelling on the plate. We’re in a digital world. If someone tells you about a spot they like, you’ll probably pull out your phone and check Instagram. Even just sharing that on social media or sending a text to your friend, it goes a long way.\u003c/p>\n\u003cp>When you realize like, \u003cem>Oh shit, this person is nixtamalizing corn and making their own masa? You’re making your own in-house crema from scratch? And not only that, but it’s also being sourced intentionally?\u003c/em> I fuck with that. I don’t want to take the easy way and work with corporate, and neither do a lot of [the foodmakers]. And there are lots of barriers to that, or even to these businesses being able to hire someone like me. Budget is the biggest one. It’s a Catch-22.\u003c/p>\n\u003cfigure id=\"attachment_13954918\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954918 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED.jpg\" alt=\"Hands holding horchata with star anise inside a wooden bowl.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Popoca’s peanut horchata topped with star anise. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What keeps you going?\u003c/b>\u003c/p>\n\u003cp>The goal is to employ the community. Working with people who may look like me, but more importantly, who think like me and move around the world like me. There’s a secret superpower to thinking that way. And there are certain businesses in the Bay who are doing that and helping to build their communities. Here at Popoca, there’s an intentionality in trying to invest in Old Oakland. I love the dedication and inspiration that they get and give here. Same with Jo’s Modern Thai [in Oakland’s Laurel District]. The owner was born and raised in that neighborhood. They want to get that area popping. It’s not like Temescal, which gets all this attention. But these other areas deserve to have that elevation.\u003c/p>\n\u003cp>\u003cb>Oakland, and the Bay as a whole, can be overwhelming with choices. And there are different perceptions people have about going to certain areas.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13950866,arts_13950436,arts_13919032']\u003c/span>I had a friend visiting from out of town and told them we were going to eat dinner in Oakland, and they asked, “Is it okay to go?” And that’s sad. It’s a whole thing. The city of Oakland has been branded in an unfair way.\u003c/p>\n\u003cfigure id=\"attachment_13954976\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bags of ground corn are seen in stacks near the bar for Popoca’s house-made masa corn flour in Oakland, Calif., on March 22, 2024.\u003cbr>CREDIT: Marissa Leshnov for KQED \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>People who have never lived in Oakland always seem to misunderstand it. But part of that intentionality you spoke about is in how you help these businesses get visibility. \u003c/b>\u003c/p>\n\u003cp>I try to always get people to try new spots, to come meet me at this restaurant or that bar or whatever. It’s in my blood to bring people together, and through the studio I’ve found a way to do that in a way that I’m proud of because of the real relationships I’ve built. This isn’t transactional. It’s like having homies with boundaries. It’s nice.\u003c/p>\n\u003cp>\u003cb>What do you have coming up next?\u003c/b>\u003c/p>\n\u003cp>I’m actually working with [Popoca chef] Anthony Salguero to host a Cinco de Mayo dinner in this space in collaboration with chef Jacob from [the Chicano pop-up] \u003ca href=\"https://www.kqed.org/arts/13937851/ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica\">My Friend Fernando\u003c/a>. There’s also \u003ca href=\"https://www.kqed.org/arts/13928562/mission-art-and-comic-expo-chicano-latinx-artists\">a local painter, Alex Sodari\u003c/a>, who will be giving away his prints. It’s a dinner with art and community. Everyone sitting at the same table. I love what I do on a day-to-day, but I’m always thinking of how to drive more impact than just being a creative agency. How can we bring more people together? If we’re not doing that, then what’s the point?\u003c/p>\n\u003cfigure id=\"attachment_13954923\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954923 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED.jpg\" alt=\"The exterior facade of the restaurant Popoca, with ornate columns and large windows extending the length of the building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the restaurant. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>If Only Creative’s special Cinco de Mayo dinner will be held at Popoca (906 Washington St., Oakland) on Sunday, May 5. The event is part of If Only’s private dinner series, \u003ca href=\"https://www.ifonly-creative.com/shop-1/p/el-otro-lado\">El Otro Lado\u003c/a>. Tickets are available \u003ca href=\"https://www.ifonly-creative.com/shop-1/p/el-otro-lado\">online\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ci>\u003ca href=\"https://www.kqed.org/hellahungry\">¡Hella Hungry!\u003c/a> is a series of interviews with Bay Area foodmakers exploring the region’s culinary innovations through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>You’d better make reservations ahead of time at \u003ca href=\"https://www.instagram.com/popoca.oakland/?hl=en\">Popoca\u003c/a>, chef Anthony Salguero’s chic eatery in Old Oakland. The lively Salvadoreño spot has become such a popular hangout that you’ll likely run into friends randomly (hello, Ricky and Olivia) during dinner.\u003c/p>\n\u003cp>The reason is simple: Popoca’s elevated cuisine, cocktails and decor are a reflection of Salguero’s Central American origins, where his parents immigrated from and where he learned how to prepare tamales using freshly made wild duck broth.\u003c/p>\n\u003cp>You can taste Salguero’s expansive love for El Salvador in each decision. It’s in the hint of honey and spice in his naranja y betabel en alguashte. It’s in the lemony butteriness of his wood-fired pupusas de hongo. And it’s in the generous smattering of beans, rice, sour cream and escabeche that you should order to accompany the banana leaf-wrapped vegetarian tamales.\u003c/p>\n\u003cfigure id=\"attachment_13954919\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954919 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED.jpg\" alt=\"Thick purple pupusas cooking on the griddle.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0070-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blue corn pupusas fry on the open grill. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s also in the people he has surrounded himself with — the servers, bartenders, kitchen hands. Everything feels intentional, genuine and joyfully interconnected in the service of helping each guest experience Popoca. And that’s exactly what Marisa Sanchez-Dunning is committed to showcasing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the founder of \u003ca href=\"https://www.instagram.com/ifonlycreative/?hl=en\">If Only Creative\u003c/a> — a Berkeley-based creative agency that supports dope East Bay destinations such as Popoca, \u003ca href=\"https://www.thisisdaytrip.com/\">DAYTRIP\u003c/a> and \u003ca href=\"https://www.burdelloakland.com/\">Burdell\u003c/a> — Sanchez-Dunning is fiercely aligned with those who share her sense of community values. A homegrown Chicana, she predominantly works with small business owners of color. She carved her way into the scene with her relentless hustle, building her studio from the ground up by hiring other women of color that represent the Bay Area she knows. Beyond providing photography, social media management and branding for a handful of local outlets, Sanchez-Dunning \u003ca href=\"https://www.kqed.org/arts/13928459/cinco-de-mayo-vegan-dinner-el-otro-lado-oakland\">hosts events to celebrate the Bay’s rich food traditions\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954975\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954975 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut.jpg\" alt=\"A restaurant server laughs as she takes an order from two customers sitting inside a sunny restaurant dining room.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0054_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">KQED reporter Alan Chazaro, left, and Marisa Sanchez-Dunning order their meal. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a bustling evening at Popoca, despite a persistent rainstorm, I connected with her to discuss her role as a connector in the East Bay’s diverse food and bev world. I’ll be clear: I don’t typically meet with creative directors, PR flaks or other folks who work on the marketing side of the food scene. But, like Sanchez-Dunning and Salguero, I believe in the importance of nurturing and expanding the local ecosystem, and seeing things from every perspective — and I can appreciate the unseen work that Sanchez-Dunning is doing.\u003c/p>\n\u003cp>In the Bay, sustaining your community can begin by simply sharing a soul-mending plate of pupusas with someone across the table.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: You’re not a foodmaker, but you work closely with chefs and small business owners throughout the Bay Area’s culinary scene. How did you enter the food world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Marisa Sanchez-Dunning:\u003c/b> My journey in food and hospitality started with my first job at 15 years old serving ice cream. Being in service, you get an appreciation for the whole spectrum. Eventually, I became a waitress. When I was 20, I worked at Peet’s and Scolari’s. I was working doubles, closing one shop late at night and opening another the next day. It’s all about the people you meet. You become a family, a community, and you realize how small the industry is here. That’s part of the Bay.\u003c/p>\n\u003cp>In college, I entered as a bio major, then I switched to journalism and ended up in marketing. I most enjoyed the creative classes: branding, design, photography. When I entered the 9 to 5 world, I started with branding and design agencies, and then I veered off to start my own agency through trial and error. I learned that my passion thrives the most in the food and bev industry. Bars, cafes, restaurants, CPGs.\u003c/p>\n\u003cp>\u003cb>A CPG?\u003c/b>\u003c/p>\n\u003cp>Oh, my bad. Consumer Packaged Goods. It’s an annoying acronym (laughs).\u003c/p>\n\u003cp>\u003cb>Word. That’s very corporate-y.\u003c/b>\u003c/p>\n\u003cp>I honestly try to stay away from that (laughs). For me, food is where [my agency] thrives creatively. That’s what we’re genuinely passionate about. As far as I know, we’re the only Chicana-owned agency doing this in the Bay. In my industry, I’m kind of like the only one that looks like me doing what I’m doing and supporting the clients that I’m supporting. And I think being in the Bay, there is an appreciation and excitement around seeing a Chicana. There’s a connection to our community.\u003c/p>\n\u003cfigure id=\"attachment_13954974\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0112_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cara cara orange slices and beets topped alguashte is one of the small plates offered at Popoca in Oakland, Calif., on March 22, 2024.\u003cbr>CREDIT: Marissa Leshnov for KQED \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What have you noticed working in the local food industry? Are there any trends right now?\u003c/b>\u003c/p>\n\u003cp>It’s really a mix, and I love that. One thing is that everyone is working their asses off. Places like Popoca are what I support. There’s a specific group of people in the Bay that don’t have any major investors, who don’t come from tons of privilege and tons of money. That takes a certain amount of working your ass off to get where they’ve gotten, and I see that. Those [business owners] have to think authentically and genuinely about every decision made, from working with me to their hiring practices and their vendor sourcing. They make sure everything is in line with their values. That’s also how I operate, for better or worse. Luckily I have a team of amazing women who are helping me out. It may take longer, and it may be harder, but it’s more gratifying. To be real, as a business owner in the Bay working in food and bev, it’s not easy.\u003c/p>\n\u003cp>\u003cb>We all can only do so much, and it can be draining. Finding that balance and intentionality is crucial. How can we keep our money and time in places that are deserving? And how can we increase access to experiences like Popoca?\u003c/b>\u003c/p>\n\u003cp>100%. I love going to places like this to support them. That’s basically what my entire role is with visual assets, videos, photos of the food and drinks. There’s so much beautiful storytelling on the plate. We’re in a digital world. If someone tells you about a spot they like, you’ll probably pull out your phone and check Instagram. Even just sharing that on social media or sending a text to your friend, it goes a long way.\u003c/p>\n\u003cp>When you realize like, \u003cem>Oh shit, this person is nixtamalizing corn and making their own masa? You’re making your own in-house crema from scratch? And not only that, but it’s also being sourced intentionally?\u003c/em> I fuck with that. I don’t want to take the easy way and work with corporate, and neither do a lot of [the foodmakers]. And there are lots of barriers to that, or even to these businesses being able to hire someone like me. Budget is the biggest one. It’s a Catch-22.\u003c/p>\n\u003cfigure id=\"attachment_13954918\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954918 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED.jpg\" alt=\"Hands holding horchata with star anise inside a wooden bowl.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0059-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Popoca’s peanut horchata topped with star anise. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What keeps you going?\u003c/b>\u003c/p>\n\u003cp>The goal is to employ the community. Working with people who may look like me, but more importantly, who think like me and move around the world like me. There’s a secret superpower to thinking that way. And there are certain businesses in the Bay who are doing that and helping to build their communities. Here at Popoca, there’s an intentionality in trying to invest in Old Oakland. I love the dedication and inspiration that they get and give here. Same with Jo’s Modern Thai [in Oakland’s Laurel District]. The owner was born and raised in that neighborhood. They want to get that area popping. It’s not like Temescal, which gets all this attention. But these other areas deserve to have that elevation.\u003c/p>\n\u003cp>\u003cb>Oakland, and the Bay as a whole, can be overwhelming with choices. And there are different perceptions people have about going to certain areas.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>I had a friend visiting from out of town and told them we were going to eat dinner in Oakland, and they asked, “Is it okay to go?” And that’s sad. It’s a whole thing. The city of Oakland has been branded in an unfair way.\u003c/p>\n\u003cfigure id=\"attachment_13954976\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_Hella_Hungry_Popoca_ML_0107_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bags of ground corn are seen in stacks near the bar for Popoca’s house-made masa corn flour in Oakland, Calif., on March 22, 2024.\u003cbr>CREDIT: Marissa Leshnov for KQED \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>People who have never lived in Oakland always seem to misunderstand it. But part of that intentionality you spoke about is in how you help these businesses get visibility. \u003c/b>\u003c/p>\n\u003cp>I try to always get people to try new spots, to come meet me at this restaurant or that bar or whatever. It’s in my blood to bring people together, and through the studio I’ve found a way to do that in a way that I’m proud of because of the real relationships I’ve built. This isn’t transactional. It’s like having homies with boundaries. It’s nice.\u003c/p>\n\u003cp>\u003cb>What do you have coming up next?\u003c/b>\u003c/p>\n\u003cp>I’m actually working with [Popoca chef] Anthony Salguero to host a Cinco de Mayo dinner in this space in collaboration with chef Jacob from [the Chicano pop-up] \u003ca href=\"https://www.kqed.org/arts/13937851/ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica\">My Friend Fernando\u003c/a>. There’s also \u003ca href=\"https://www.kqed.org/arts/13928562/mission-art-and-comic-expo-chicano-latinx-artists\">a local painter, Alex Sodari\u003c/a>, who will be giving away his prints. It’s a dinner with art and community. Everyone sitting at the same table. I love what I do on a day-to-day, but I’m always thinking of how to drive more impact than just being a creative agency. How can we bring more people together? If we’re not doing that, then what’s the point?\u003c/p>\n\u003cfigure id=\"attachment_13954923\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954923 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED.jpg\" alt=\"The exterior facade of the restaurant Popoca, with ornate columns and large windows extending the length of the building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240322_KQED_HELLA_HUNGRY_POPOCA_ML_0137-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the restaurant. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>If Only Creative’s special Cinco de Mayo dinner will be held at Popoca (906 Washington St., Oakland) on Sunday, May 5. The event is part of If Only’s private dinner series, \u003ca href=\"https://www.ifonly-creative.com/shop-1/p/el-otro-lado\">El Otro Lado\u003c/a>. Tickets are available \u003ca href=\"https://www.ifonly-creative.com/shop-1/p/el-otro-lado\">online\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13955630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058.jpg\" alt=\"A young conductor smiles and holds a baton. \" width=\"1920\" height=\"2465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-800x1027.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1595x2048.jpg 1595w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong is the new music director of the Oakland Symphony. He takes the podium when the 2024-’25 season begins in October. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kedrickarmstrong.com/\">Kedrick Armstrong\u003c/a> hasn’t moved to Oakland yet, but he’s already a kindred spirit of the Town’s many artists and activists.\u003c/p>\n\u003cp>In a recent conversation about his new appointment as the \u003ca href=\"https://www.oaklandsymphony.org/\">Oakland Symphony\u003c/a>’s music director, Armstrong beams when he talks about music as a way to empower everyday people and strengthen communities. And when the 29-year-old conductor gets going about public school music education — the heart of the Symphony’s public service mission — he’s coming from a place of hard-won wisdom from working to change a system that doesn’t always respect people who look like him.\u003c/p>\n\u003cp>“One of the things that truly excited me about this orchestra is their commitment not only to excellence on the stage, but excellence in music education and community work,” he says.\u003c/p>\n\u003cp>Today, the Oakland Symphony announced that Armstrong will take the helm at the orchestra, effective immediately, after a two-year nationwide search. He follows in the footsteps of \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the beloved, visionary conductor who led the organization for 30 years until his death in 2021 at 63 years old. In the coming months, Armstrong will relocate from Illinois, where he currently serves as the Knox-Galesburg Symphony’s creative partner and principal conductor.\u003c/p>\n\u003cp>Armstrong grew up in Georgetown, South Carolina and spent his young adulthood in Chicago, where his profile in the classical music world rose. Through the Lyric Opera of Chicago, where he has appeared as a conductor, he mentored high school students on the city’s Southside — a Black community with a rich culture and history that, like Oakland, is often maligned in the national press.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Washington Post\u003c/em> named Armstrong a\u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2022/01/22/2022-composers-up-and-coming/\"> conductor to watch\u003c/a> in 2022. In May 2023, he completed his graduate studies at the University of Colorado in Boulder, where he \u003ca href=\"https://www.cpr.org/2023/03/31/colorado-conductor-kedrick-armstrong-nourished-by-black-female-composers/\">researched Black women composers\u003c/a>, including some whose works had never been performed until he got his hands on their scores.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Armstrong has guest conducted at the Chicago Opera Theater, the Opera Theatre of St. Louis and three times at the Oakland Symphony. At his most recent Oakland appearance in February 2024, he led the orchestra in a world premiere of \u003ci>Here I Stand\u003c/i>, an oratorio by composer Carlos Simon and librettist Dan Harder about the remarkable life of Black actor, singer, athlete and activist \u003ca href=\"https://www.pbs.org/wnet/americanmasters/paul-robeson-about-the-actor/66/\">Paul Robeson\u003c/a>, who dedicated his life to anti-racist, anti-fascist movements.\u003c/p>\n\u003cp>“I had the opportunity to meet some audience members and community members in that time, and the way that they embraced me as a queer Black man from South Carolina — stepping into this new place was so special and so warming to me,” Armstrong says. [aside postid='arts_13954039']\u003c/p>\n\u003cp>For Armstrong, something that sets the Oakland Symphony apart from other orchestras around the nation is that “they have this flexibility in their playing and this respect that they give to everything, from Mozart to MC Hammer,” he says. “And for me, as a conductor that loves all of these different genres and repertoires, knowing that I already have a group of colleagues who are so behind that idea, style and approach of playing is just a dream of possibilities.”\u003c/p>\n\u003cp>The Oakland Symphony has also had people of color in leadership roles for decades, while most orchestras only began conversations about race in earnest after the George Floyd protests of 2020. (Prior to Michael Morgan’s tenure, Calvin Simmons took the helm at the Oakland Symphony in 1979, becoming the first Black leader of a major U.S. orchestra.)\u003c/p>\n\u003cp>“The thing that inspires me the most, especially with the Oakland Symphony, is knowing that there’s a legacy to stand on,” says Armstrong. [aside postid='arts_13955286']\u003c/p>\n\u003cp>Armstrong spurred diversity reforms at his undergraduate alma mater, Wheaton Conservatory, when he penned a \u003ca href=\"https://thewheatonrecord.com/2020/10/08/alumnis-open-letter-prompts-conservatory-changes-task-force-to-assess-diversity/\">widely circulated open letter\u003c/a> in 2020 calling for more diversity in its curriculum. Oakland Symphony’s music education programs, which serve 19,000 students every year, are particularly important to him. He remembers a time when he thought he had to give up his passion for gospel and jazz to be taken seriously as a classical musician. Now, at an organization that regularly blends genres, he wants to help foster an environment where young musicians, especially those of color, can be themselves.\u003c/p>\n\u003cp>“I’m constantly trying to figure out, how do we teach music with a person’s culture, with the music that they’re accustomed to?” he reflects. [aside postid='arts_13955195']\u003c/p>\n\u003cp>Armstrong makes his first appearance on the Paramount Theatre’s podium as Oakland Symphony Music Director on Oct. 18, in a season kickoff that celebrates the 40th anniversary of the music nonprofit Living Jazz. The orchestra will perform music by Claude Debussy and Julia Perry — the first Black woman to have her work performed by the New York Philharmonic, in 1965 — alongside Living Jazz’s new commissions.\u003c/p>\n\u003cp>The wide-ranging season features titans of the classical music canon, including Bach, Rachmaninoff and Mussorgsky, as well as rising contemporary composers such as Shawn Okpebholo, an ethnomusicologist who studies the music of East and West Africa, and Alabama-born composer Brian Raphael Nabors, who’ll perform his own concerto for the Hammond organ. [aside postid='arts_13955108']\u003c/p>\n\u003cp>While dreaming up future collaborations with jazz musicians and dance ensembles, Armstrong is excited to dive into Oakland’s culture when he moves here in late summer or early fall. A natural bridge builder, he spends his time cooking and hosting when he’s not at the podium. It’s only a matter of time before his Oakland kitchen table is filled with new connections who are just as community-oriented, curious and creative as he is.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think there is such an easy thing for me as an outsider to look at Oakland and to buy into the external pictures that people paint about Oakland, about crime, about poverty,” he says. “But every corner I turn around here, I can’t help but see the beauty that is uplifted by the community.”\u003c/p>\n\u003chr>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058.jpg\" alt=\"A young conductor smiles and holds a baton. \" width=\"1920\" height=\"2465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-800x1027.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1595x2048.jpg 1595w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong is the new music director of the Oakland Symphony. He takes the podium when the 2024-’25 season begins in October. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kedrickarmstrong.com/\">Kedrick Armstrong\u003c/a> hasn’t moved to Oakland yet, but he’s already a kindred spirit of the Town’s many artists and activists.\u003c/p>\n\u003cp>In a recent conversation about his new appointment as the \u003ca href=\"https://www.oaklandsymphony.org/\">Oakland Symphony\u003c/a>’s music director, Armstrong beams when he talks about music as a way to empower everyday people and strengthen communities. And when the 29-year-old conductor gets going about public school music education — the heart of the Symphony’s public service mission — he’s coming from a place of hard-won wisdom from working to change a system that doesn’t always respect people who look like him.\u003c/p>\n\u003cp>“One of the things that truly excited me about this orchestra is their commitment not only to excellence on the stage, but excellence in music education and community work,” he says.\u003c/p>\n\u003cp>Today, the Oakland Symphony announced that Armstrong will take the helm at the orchestra, effective immediately, after a two-year nationwide search. He follows in the footsteps of \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the beloved, visionary conductor who led the organization for 30 years until his death in 2021 at 63 years old. In the coming months, Armstrong will relocate from Illinois, where he currently serves as the Knox-Galesburg Symphony’s creative partner and principal conductor.\u003c/p>\n\u003cp>Armstrong grew up in Georgetown, South Carolina and spent his young adulthood in Chicago, where his profile in the classical music world rose. Through the Lyric Opera of Chicago, where he has appeared as a conductor, he mentored high school students on the city’s Southside — a Black community with a rich culture and history that, like Oakland, is often maligned in the national press.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Washington Post\u003c/em> named Armstrong a\u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2022/01/22/2022-composers-up-and-coming/\"> conductor to watch\u003c/a> in 2022. In May 2023, he completed his graduate studies at the University of Colorado in Boulder, where he \u003ca href=\"https://www.cpr.org/2023/03/31/colorado-conductor-kedrick-armstrong-nourished-by-black-female-composers/\">researched Black women composers\u003c/a>, including some whose works had never been performed until he got his hands on their scores.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Armstrong has guest conducted at the Chicago Opera Theater, the Opera Theatre of St. Louis and three times at the Oakland Symphony. At his most recent Oakland appearance in February 2024, he led the orchestra in a world premiere of \u003ci>Here I Stand\u003c/i>, an oratorio by composer Carlos Simon and librettist Dan Harder about the remarkable life of Black actor, singer, athlete and activist \u003ca href=\"https://www.pbs.org/wnet/americanmasters/paul-robeson-about-the-actor/66/\">Paul Robeson\u003c/a>, who dedicated his life to anti-racist, anti-fascist movements.\u003c/p>\n\u003cp>“I had the opportunity to meet some audience members and community members in that time, and the way that they embraced me as a queer Black man from South Carolina — stepping into this new place was so special and so warming to me,” Armstrong says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Armstrong, something that sets the Oakland Symphony apart from other orchestras around the nation is that “they have this flexibility in their playing and this respect that they give to everything, from Mozart to MC Hammer,” he says. “And for me, as a conductor that loves all of these different genres and repertoires, knowing that I already have a group of colleagues who are so behind that idea, style and approach of playing is just a dream of possibilities.”\u003c/p>\n\u003cp>The Oakland Symphony has also had people of color in leadership roles for decades, while most orchestras only began conversations about race in earnest after the George Floyd protests of 2020. (Prior to Michael Morgan’s tenure, Calvin Simmons took the helm at the Oakland Symphony in 1979, becoming the first Black leader of a major U.S. orchestra.)\u003c/p>\n\u003cp>“The thing that inspires me the most, especially with the Oakland Symphony, is knowing that there’s a legacy to stand on,” says Armstrong. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Armstrong makes his first appearance on the Paramount Theatre’s podium as Oakland Symphony Music Director on Oct. 18, in a season kickoff that celebrates the 40th anniversary of the music nonprofit Living Jazz. The orchestra will perform music by Claude Debussy and Julia Perry — the first Black woman to have her work performed by the New York Philharmonic, in 1965 — alongside Living Jazz’s new commissions.\u003c/p>\n\u003cp>The wide-ranging season features titans of the classical music canon, including Bach, Rachmaninoff and Mussorgsky, as well as rising contemporary composers such as Shawn Okpebholo, an ethnomusicologist who studies the music of East and West Africa, and Alabama-born composer Brian Raphael Nabors, who’ll perform his own concerto for the Hammond organ. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While dreaming up future collaborations with jazz musicians and dance ensembles, Armstrong is excited to dive into Oakland’s culture when he moves here in late summer or early fall. A natural bridge builder, he spends his time cooking and hosting when he’s not at the podium. It’s only a matter of time before his Oakland kitchen table is filled with new connections who are just as community-oriented, curious and creative as he is.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think there is such an easy thing for me as an outsider to look at Oakland and to buy into the external pictures that people paint about Oakland, about crime, about poverty,” he says. “But every corner I turn around here, I can’t help but see the beauty that is uplifted by the community.”\u003c/p>\n\u003chr>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Missy Elliott Is Playing at the Oakland Arena",
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"content": "\u003cp>This Is Not a Test: Missy Elliott is \u003ca href=\"https://www.missy-elliott.com/tour\">playing the Oakland Arena on July 9\u003c/a>, and tickets go on sale this week.\u003c/p>\n\u003cp>Yes, you read that correctly. Missy Elliott’s first proper tour in 20 years is happening, with openers Busta Rhymes and Ciara and special guest Timbaland. Her July 9 stop in Oakland is sure to sell out faster than you can say “\u003ca href=\"https://www.youtube.com/watch?v=cjIvu7e6Wq8\">flip it and reverse it\u003c/a>.”\u003c/p>\n\u003cp>So: how to get tickets, which go on sale to the general public on Friday, April 12? \u003c/p>\n\u003cp>As is customary for big tours, a handful of presales will open in the next few days. \u003c/p>\n\u003cp>On Tuesday, April 9, at 10 a.m., Verizon customers can buy tickets; \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">details here\u003c/a>. \u003ca href=\"https://www.ticketmaster.com/event/1C006082BD4C61EF\">VIP packages\u003c/a>, typically expensive, also go on sale on Tuesday, April 9. \u003c/p>\n\u003cfigure id=\"attachment_13955575\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-1024x1536.jpg 1024w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott will perform in Oakland on Tuesday, July 9, 2024. \u003ccite>(Derek Blanks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, April 11, at 10 a.m., use the presale code RIFF for the Live Nation presale. April 11 is also the onsale date for the \u003ca href=\"https://twitter.com/OaklandArena\">venue\u003c/a> presale and \u003ca href=\"https://twitter.com/MissyElliott\">Missy Elliott’s own\u003c/a> presale. (Best to \u003ca href=\"https://twitter.com/OaklandArena\">follow\u003c/a> \u003ca href=\"https://twitter.com/MissyElliott\">both\u003c/a> in case either posts a presale code.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, on Friday, April 12 at 10 a.m., the general onsale starts. Be forewarned about “dynamic pricing,” resale tickets and other unsavory developments foisted upon music fans by Ticketmaster. \u003c/p>\n\u003cp>But also, it’s worth stating: demand will far outweigh supply. Elliott’s last proper tour was in 2004 with Beyoncé and Alicia Keys (a show that, in Oakland, remarkably \u003ca href=\"https://en.wikipedia.org/wiki/Verizon_Ladies_First_Tour\">did not sell out\u003c/a>). \u003c/p>\n\u003cp>“Fans have been asking me to tour forever,” Elliott said in a statement. “But I wanted to wait until I felt the time was right, because I knew if I was ever going to do it, I had to do it big, and I had to do it with family.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Missy Elliott’s \u003ca href=\"https://www.instagram.com/p/C5f-HvJu9J-/\">tour announcement here\u003c/a>, and good luck this week with tickets. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Is Not a Test: Missy Elliott is \u003ca href=\"https://www.missy-elliott.com/tour\">playing the Oakland Arena on July 9\u003c/a>, and tickets go on sale this week.\u003c/p>\n\u003cp>Yes, you read that correctly. Missy Elliott’s first proper tour in 20 years is happening, with openers Busta Rhymes and Ciara and special guest Timbaland. Her July 9 stop in Oakland is sure to sell out faster than you can say “\u003ca href=\"https://www.youtube.com/watch?v=cjIvu7e6Wq8\">flip it and reverse it\u003c/a>.”\u003c/p>\n\u003cp>So: how to get tickets, which go on sale to the general public on Friday, April 12? \u003c/p>\n\u003cp>As is customary for big tours, a handful of presales will open in the next few days. \u003c/p>\n\u003cp>On Tuesday, April 9, at 10 a.m., Verizon customers can buy tickets; \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">details here\u003c/a>. \u003ca href=\"https://www.ticketmaster.com/event/1C006082BD4C61EF\">VIP packages\u003c/a>, typically expensive, also go on sale on Tuesday, April 9. \u003c/p>\n\u003cfigure id=\"attachment_13955575\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/MissyElliott_PressPhotoMain_Photo-credit_Derek-Blanks-with-crowdMGMT-1024x1536.jpg 1024w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott will perform in Oakland on Tuesday, July 9, 2024. \u003ccite>(Derek Blanks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, April 11, at 10 a.m., use the presale code RIFF for the Live Nation presale. April 11 is also the onsale date for the \u003ca href=\"https://twitter.com/OaklandArena\">venue\u003c/a> presale and \u003ca href=\"https://twitter.com/MissyElliott\">Missy Elliott’s own\u003c/a> presale. (Best to \u003ca href=\"https://twitter.com/OaklandArena\">follow\u003c/a> \u003ca href=\"https://twitter.com/MissyElliott\">both\u003c/a> in case either posts a presale code.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, on Friday, April 12 at 10 a.m., the general onsale starts. Be forewarned about “dynamic pricing,” resale tickets and other unsavory developments foisted upon music fans by Ticketmaster. \u003c/p>\n\u003cp>But also, it’s worth stating: demand will far outweigh supply. Elliott’s last proper tour was in 2004 with Beyoncé and Alicia Keys (a show that, in Oakland, remarkably \u003ca href=\"https://en.wikipedia.org/wiki/Verizon_Ladies_First_Tour\">did not sell out\u003c/a>). \u003c/p>\n\u003cp>“Fans have been asking me to tour forever,” Elliott said in a statement. “But I wanted to wait until I felt the time was right, because I knew if I was ever going to do it, I had to do it big, and I had to do it with family.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Missy Elliott’s \u003ca href=\"https://www.instagram.com/p/C5f-HvJu9J-/\">tour announcement here\u003c/a>, and good luck this week with tickets. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tall Tee’s New Track Is Prime for Your Summer Barbecue Playlist",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">If you like to two-step shuffle with a red cup in your hand, then \u003ca href=\"https://www.instagram.com/tallteesound/\">Tall Tee\u003c/a> might be the next addition to your spring barbecue playlist. Two Filipino American DJs-turned-vocalists, Jon “Joog” Macapinlac and Alexander “Flex” Lim, lead the funky band, which has been igniting Bay Area dance floors since emerging from their DJ collective, Cheat Day. (The duo also has\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003ca href=\"https://www.undiscoveredsf.com/blog/2019/10/17/living-room-sf-the-not-so-new-kids-on-the-block\">a panoply of individual creative efforts\u003c/a>, including a distribution of \u003ca href=\"https://www.kqed.org/arts/13923081/purity-wine-richmond-new-years-eve-party-inclusive-natural-winery\">natural wines\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13914042/smax-okonomiyaki-chopped-cheese-asian-american-pop-up-vallejo-san-francisco\">chopped cheese sandwiches\u003c/a>.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the past few years, \u003ca href=\"https://tallteesound.bandcamp.com/\">the emergent group\u003c/a> has been gaining underground traction with their playful, up-tempo rhythms that twirl with a mixture of retro boogie and smooth, player vocals. Even though they have yet to release an album — one is scheduled for later this year — Tall Tee’s niche following has patiently anticipated their full-length debut since the two homies first recorded a track together at San Francisco State University in 2018.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XiglhPxeQzs\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On April 10, they’re delivering the musical goods. The pair will host a watch party for “So Fly” — their first official single off Tall Tee’s upcoming album, which is also the first song they ever recorded together at SFSU.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Instead of just releasing the video online, we wanted to make it more communal,” says Flex. “This is really a thank you to those who have pushed us over the years. We wanted to extend that sentiment in person to everyone who has been involved with us.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The premiere will take place at \u003ca href=\"https://www.instagram.com/thisisbabas.house/?hl=en\">Baba’s House\u003c/a> — a quirky, neon-lit Asian snack shop ensconced on the second story of a historic building in downtown Oakland. In a time of digitized streaming and online clout chasing, it’s always refreshing to see any genuine efforts to build community and have fun IRL. [aside postid='arts_13955372']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The track is — as the name suggests — about being fly. More importantly, it’s an ode to the sweat and grind that goes into remaining fly in the Bay Area, a place that is notoriously vibrant but expensive as hell for artists to thrive in. Flex, a lifelong San Franciscan, and Joog, a Vallejo kid, are simply trying to sustain the good vibes that they were able to simmer in during the hyphy movement, when tall tees could be copped at any Bay Area liquor store worth its malt. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s effort and hustle to look fly,” Flex says. “We wanted to be the antithesis of a tuxedo, and what’s more opposite than a tall tee?”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/tallteesound/\">Tall Tee\u003c/a> premiere their debut music video in person at \u003ca href=\"https://www.instagram.com/thisisbabas.house/?hl=en\">Baba’s House\u003c/a> (410 15th St, Oakland) on April 10 at 8:30 p.m. The event includes a photo booth by Good Mother Gallery and DJ set by Jon Reyes. Tall Tee’s ‘So Fly’ video will be available to watch online on April 15.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">If you like to two-step shuffle with a red cup in your hand, then \u003ca href=\"https://www.instagram.com/tallteesound/\">Tall Tee\u003c/a> might be the next addition to your spring barbecue playlist. Two Filipino American DJs-turned-vocalists, Jon “Joog” Macapinlac and Alexander “Flex” Lim, lead the funky band, which has been igniting Bay Area dance floors since emerging from their DJ collective, Cheat Day. (The duo also has\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003ca href=\"https://www.undiscoveredsf.com/blog/2019/10/17/living-room-sf-the-not-so-new-kids-on-the-block\">a panoply of individual creative efforts\u003c/a>, including a distribution of \u003ca href=\"https://www.kqed.org/arts/13923081/purity-wine-richmond-new-years-eve-party-inclusive-natural-winery\">natural wines\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13914042/smax-okonomiyaki-chopped-cheese-asian-american-pop-up-vallejo-san-francisco\">chopped cheese sandwiches\u003c/a>.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the past few years, \u003ca href=\"https://tallteesound.bandcamp.com/\">the emergent group\u003c/a> has been gaining underground traction with their playful, up-tempo rhythms that twirl with a mixture of retro boogie and smooth, player vocals. Even though they have yet to release an album — one is scheduled for later this year — Tall Tee’s niche following has patiently anticipated their full-length debut since the two homies first recorded a track together at San Francisco State University in 2018.\u003c/span>\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/XiglhPxeQzs'\n title='//www.youtube.com/embed/XiglhPxeQzs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">On April 10, they’re delivering the musical goods. The pair will host a watch party for “So Fly” — their first official single off Tall Tee’s upcoming album, which is also the first song they ever recorded together at SFSU.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Instead of just releasing the video online, we wanted to make it more communal,” says Flex. “This is really a thank you to those who have pushed us over the years. We wanted to extend that sentiment in person to everyone who has been involved with us.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The track is — as the name suggests — about being fly. More importantly, it’s an ode to the sweat and grind that goes into remaining fly in the Bay Area, a place that is notoriously vibrant but expensive as hell for artists to thrive in. Flex, a lifelong San Franciscan, and Joog, a Vallejo kid, are simply trying to sustain the good vibes that they were able to simmer in during the hyphy movement, when tall tees could be copped at any Bay Area liquor store worth its malt. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s effort and hustle to look fly,” Flex says. “We wanted to be the antithesis of a tuxedo, and what’s more opposite than a tall tee?”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/tallteesound/\">Tall Tee\u003c/a> premiere their debut music video in person at \u003ca href=\"https://www.instagram.com/thisisbabas.house/?hl=en\">Baba’s House\u003c/a> (410 15th St, Oakland) on April 10 at 8:30 p.m. The event includes a photo booth by Good Mother Gallery and DJ set by Jon Reyes. Tall Tee’s ‘So Fly’ video will be available to watch online on April 15.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over a decade ago, when the owners of \u003ca href=\"https://www.instagram.com/umamimart/\">Umami Mart\u003c/a> — the sleek Japanese boutique that sells hard-to-find liquor and high-end barware like 24-karat gold bar spoons and diamond-cut mixing glasses — first arrived in Oakland, they hoped to celebrate Japan’s diverse beverage offerings. And they’ve done exactly that.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13955219,arts_13935854,arts_13954939']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Providing one of the Bay Area’s largest selections of Japanese craft beers and spirits, owners Yoko Kumano and Kayoko Akabori — who met while growing up in Cupertino — have \u003ca href=\"https://www.kqed.org/bayareabites/95914/japanese-craft-beer-comes-to-oakland-and-heres-what-you-should-try\">successfully imported Japan’s cheerful “kanpai” culture to the East Bay\u003c/a>. If you’ve ever wandered around their quaint brick-and-mortar outpost on Broadway & 40th, you’ve certainly discovered their lo-fi bar at the back, where whiskey highballs and shochu (a Japanese grain- and vegetable-based spirit) are served with a generous hand.\u003c/p>\n\u003cp>On Saturday, April 13, they’ll be upping the ante with their annual \u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">NamaFest\u003c/a>. A “nama” — an abbreviation for namazake, or raw, unpasteurized sake — is the most freshly pressed iteration of sake you can find. Every spring, the seasonal sakes are ceremoniously made and bottled. In honor of the tradition, Umami Mart has held a small-scale NamaFest celebration at the bar each spring, but this year’s event will be the biggest one yet — the first time they’ll be hosting a full-on outdoor festival with 16 sake makers, both local and international, pouring up for the Bay Area’s most avid rice wine lovers.\u003c/p>\n\u003cfigure id=\"attachment_13955492\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-scaled.jpg\" alt=\"an outdoor event where patrons sit and dine on a sunny afternoon\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Umami Mart’s back lot has been used for events in the past, but never a full-on outdoor sake fest until now. \u003ccite>(Courtesy Umami Mart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event will take place in the shop’s back lot and will also include bites from pop-up \u003ca href=\"https://www.instagram.com/casadekei/?hl=en\">Casa de Kei\u003c/a>. With a one-ticket-gives-you-access-to-drinking-everything model, visitors can rotate through each glass of undiluted sake — including offerings from \u003ca href=\"https://sequoiasake.com/\">Sequoia Sake\u003c/a>, \u003ca href=\"https://www.sipfifthtaste.com/\">Fifth Taste Sake\u003c/a>, \u003ca href=\"https://www.jotosake.com//\">Joto Sake\u003c/a>, \u003ca href=\"https://www.takarasake.com/\">Takara Sake\u003c/a> and, for the non-sake drinkers, \u003ca href=\"https://www.suntory.com/beer/premium/en/\">Suntory malt beer\u003c/a>.\u003c/p>\n\u003cp>Afterwards — or better yet, beforehand, while you still have your wits about you — festival-goers can peruse the shop and snag a miniature ceramic ghost or cat-themed can of beer. In my experience, Umami Mart sells top-shelf Japanese goods and beverages I’ve otherwise only ever seen while visiting Tokyo. Except this is in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">NamaFest\u003c/a> will take place in Umami Mart’s back lot (4027 Broadway, Oakland) on Sat., April 13, from 1–5 p.m. \u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">Tickets are $55 and include a tasting of all 16 sakes\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over a decade ago, when the owners of \u003ca href=\"https://www.instagram.com/umamimart/\">Umami Mart\u003c/a> — the sleek Japanese boutique that sells hard-to-find liquor and high-end barware like 24-karat gold bar spoons and diamond-cut mixing glasses — first arrived in Oakland, they hoped to celebrate Japan’s diverse beverage offerings. And they’ve done exactly that.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Providing one of the Bay Area’s largest selections of Japanese craft beers and spirits, owners Yoko Kumano and Kayoko Akabori — who met while growing up in Cupertino — have \u003ca href=\"https://www.kqed.org/bayareabites/95914/japanese-craft-beer-comes-to-oakland-and-heres-what-you-should-try\">successfully imported Japan’s cheerful “kanpai” culture to the East Bay\u003c/a>. If you’ve ever wandered around their quaint brick-and-mortar outpost on Broadway & 40th, you’ve certainly discovered their lo-fi bar at the back, where whiskey highballs and shochu (a Japanese grain- and vegetable-based spirit) are served with a generous hand.\u003c/p>\n\u003cp>On Saturday, April 13, they’ll be upping the ante with their annual \u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">NamaFest\u003c/a>. A “nama” — an abbreviation for namazake, or raw, unpasteurized sake — is the most freshly pressed iteration of sake you can find. Every spring, the seasonal sakes are ceremoniously made and bottled. In honor of the tradition, Umami Mart has held a small-scale NamaFest celebration at the bar each spring, but this year’s event will be the biggest one yet — the first time they’ll be hosting a full-on outdoor festival with 16 sake makers, both local and international, pouring up for the Bay Area’s most avid rice wine lovers.\u003c/p>\n\u003cfigure id=\"attachment_13955492\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-scaled.jpg\" alt=\"an outdoor event where patrons sit and dine on a sunny afternoon\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Umami Mart’s back lot has been used for events in the past, but never a full-on outdoor sake fest until now. \u003ccite>(Courtesy Umami Mart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event will take place in the shop’s back lot and will also include bites from pop-up \u003ca href=\"https://www.instagram.com/casadekei/?hl=en\">Casa de Kei\u003c/a>. With a one-ticket-gives-you-access-to-drinking-everything model, visitors can rotate through each glass of undiluted sake — including offerings from \u003ca href=\"https://sequoiasake.com/\">Sequoia Sake\u003c/a>, \u003ca href=\"https://www.sipfifthtaste.com/\">Fifth Taste Sake\u003c/a>, \u003ca href=\"https://www.jotosake.com//\">Joto Sake\u003c/a>, \u003ca href=\"https://www.takarasake.com/\">Takara Sake\u003c/a> and, for the non-sake drinkers, \u003ca href=\"https://www.suntory.com/beer/premium/en/\">Suntory malt beer\u003c/a>.\u003c/p>\n\u003cp>Afterwards — or better yet, beforehand, while you still have your wits about you — festival-goers can peruse the shop and snag a miniature ceramic ghost or cat-themed can of beer. In my experience, Umami Mart sells top-shelf Japanese goods and beverages I’ve otherwise only ever seen while visiting Tokyo. Except this is in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">NamaFest\u003c/a> will take place in Umami Mart’s back lot (4027 Broadway, Oakland) on Sat., April 13, from 1–5 p.m. \u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">Tickets are $55 and include a tasting of all 16 sakes\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Conspiracy Theory About the Oakland A’s Emerges — Here’s Why Fans Are Mad",
"headTitle": "A Conspiracy Theory About the Oakland A’s Emerges — Here’s Why Fans Are Mad | KQED",
"content": "\u003cfigure id=\"attachment_13955414\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Booker.Ruiz_.MAIN_.jpg\" alt=\"Two baseball players slap hands in a dugout with orange Gatorade jugs in the background.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13955414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Booker.Ruiz_.MAIN_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Booker.Ruiz_.MAIN_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Booker.Ruiz_.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Booker.Ruiz_.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Booker.Ruiz_.MAIN_-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Esteury Ruiz of the Oakland Athletics (at right) greets Brent Rooker in the dugout before a game against the Seattle Mariners at T-Mobile Park on May 22, 2023. \u003ccite>(Stephen Brashear/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ask any lifelong Oakland A’s fan about the dubious things we’ve seen in recent years, and you’ll get a novella’s worth of some of the worst atrocities seen in modern sports.\u003c/p>\n\u003cp>There was the whole marsupial fiasco — when \u003ca href=\"https://bleacherreport.com/articles/10072517-possum-living-in-as-stadium-prevents-visiting-announcers-from-using-broadcast-booth\">possums overtook portions of the Coliseum\u003c/a> and, according to Bleacher Report, prevented visiting team’s announcers from using the broadcast booth.\u003c/p>\n\u003cp>There’s the time \u003ca href=\"https://www.mercurynews.com/2021/04/21/top-oakland-coliseum-fails-light-outage-just-the-latest-as-stadium-delay/\">the lights went out at the Coliseum during a game on Teacher’s Appreciation Night\u003c/a> — in which the start time was delayed and most teachers, ironically, didn’t get to watch the game. (I was a teacher at the time; we all left before the first inning because we had young people to teach early the next morning).\u003c/p>\n\u003cp>[aside postID='news_11981232']And let’s not forget the time that ESPN reported how the New York Yankees were “\u003ca href=\"https://www.espn.com/mlb/story/_/id/15647563/new-york-yankees-dugout-victimized-plumbing-issues-oakland-coliseum\">victimized by plumbing issues\u003c/a>” at the Coliseum, in which human feces, overflow and a mop were involved in the guest dugout. \u003c/p>\n\u003cp>You’d be forgiven to wonder: How could it possibly get worse for the Las Vegas-distracted team that is now looking into \u003ca href=\"https://www.cbssports.com/mlb/news/as-to-meet-with-sacramento-city-officials-about-temporary-home-before-planned-las-vegas-move-per-report/\">a temporary Sacramento relocation\u003c/a>? (\u003cstrong>Update\u003c/strong>: \u003ca href=\"https://www.instagram.com/p/C5WCz4XrW0I/?hl=en\">It’s official — they’re leaving Oakland after the 2024 season\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How about demoting two of the team’s statistically best performers for — wait for it — allegedly wearing fan-made gear? Yes, I’m talking about — wait for it again — \u003ca href=\"https://www.newsweek.com/sports/mlb/mlb-news-oakland-s-wristbandgate-conspiracy-more-theory-1886247\">#WristbandGate\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13952437']Esteury Ruiz — who as of this writing wields the team’s highest batting average, and led the A’s in stolen bases last year — was sent down to the Minor Leagues this week. And Brent Rooker — who, admittedly, has struggled to start of his 2024 campaign — has been benched.\u003c/p>\n\u003cp>In Ruiz’s case, the move seems especially confounding, since he’s a fan favorite and one of the franchise’s sole luminaries. But \u003ca href=\"https://twitter.com/LastDiveBar\">The Last Dive Bar\u003c/a> — a fan-owned online merch shop that was \u003ca href=\"https://www.kqed.org/arts/13952437/oakland-as-fans-fest-jack-london-square-2024\">involved in organizing this year’s Oakland Fan Appreciation Day\u003c/a> in Jack London Square — thinks they know why both players were penalized.\u003c/p>\n\u003cp>In a recent Tweet, The Last Dive Bar posted a photo of the players wearing their store’s popular wristbands, which are notoriously associated with a sweeping effort to convince current owner John Fisher to sell the team.\u003c/p>\n\u003cp>https://twitter.com/LastDiveBar/status/1774917579842486699\u003c/p>\n\u003cp>They’re not the only players to wear the wristbands and get let go — or demoted — by the team, either. Somewhat facetiously, The Last Dive Bar also posted photos of other former Athletics wearing the yellow wristband with the caption reading “Pache gone! Ruiz sent down! Rooker benched! Kap gone!… The truth is out there!!!!”.\u003c/p>\n\u003cp>If you think this sounds like a conspiracy theory (which \u003ca href=\"https://twitter.com/search?q=a%27s%20conspiracy%20theory&src=typed_query\">many fans and baseball writers nationwide are suggesting\u003c/a>), then I will kindly remind you that nothing in the warped upside-down netherworld of the John Fisher-owned Oakland Athletics makes sense, \u003cem>ever\u003c/em> (see: no lights in the stadium, territorial possums, human feces).\u003c/p>\n\u003cp>If you’re asking me — and I’ve seen everything imaginable at the Coliseum, including sexual acts and violent encounters — I think it’s a little more than a tongue-in-cheek theory. Simply put, there’s a reason why it’s believable: A’s management have neglected their duties for far too long and their egos are more fragile and untenable than ever.\u003c/p>\n\u003cp>[aside postID='arts_13921216']As a former season ticketholder who until recently attended A’s games religiously, I simply want the basic respect any loyal fan deserves. And yes, I want the basic condiments — I’m talking about having simple access to ketchup and barbecue sauce — inside my favorite team’s stadium. And I know I’m not alone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What the Oakland A’s have become under the soulless oversight of Fisher is hard to describe, unless you’ve sat in those rickety bleacher seats or in that mountainous concrete upper deck. But at this point, if you hear a wild-sounding conspiracy theory from A’s fans who’ve endured so much, at this point there’s probably a reason to believe them.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955414\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Booker.Ruiz_.MAIN_.jpg\" alt=\"Two baseball players slap hands in a dugout with orange Gatorade jugs in the background.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13955414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Booker.Ruiz_.MAIN_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Booker.Ruiz_.MAIN_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Booker.Ruiz_.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Booker.Ruiz_.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Booker.Ruiz_.MAIN_-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Esteury Ruiz of the Oakland Athletics (at right) greets Brent Rooker in the dugout before a game against the Seattle Mariners at T-Mobile Park on May 22, 2023. \u003ccite>(Stephen Brashear/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ask any lifelong Oakland A’s fan about the dubious things we’ve seen in recent years, and you’ll get a novella’s worth of some of the worst atrocities seen in modern sports.\u003c/p>\n\u003cp>There was the whole marsupial fiasco — when \u003ca href=\"https://bleacherreport.com/articles/10072517-possum-living-in-as-stadium-prevents-visiting-announcers-from-using-broadcast-booth\">possums overtook portions of the Coliseum\u003c/a> and, according to Bleacher Report, prevented visiting team’s announcers from using the broadcast booth.\u003c/p>\n\u003cp>There’s the time \u003ca href=\"https://www.mercurynews.com/2021/04/21/top-oakland-coliseum-fails-light-outage-just-the-latest-as-stadium-delay/\">the lights went out at the Coliseum during a game on Teacher’s Appreciation Night\u003c/a> — in which the start time was delayed and most teachers, ironically, didn’t get to watch the game. (I was a teacher at the time; we all left before the first inning because we had young people to teach early the next morning).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And let’s not forget the time that ESPN reported how the New York Yankees were “\u003ca href=\"https://www.espn.com/mlb/story/_/id/15647563/new-york-yankees-dugout-victimized-plumbing-issues-oakland-coliseum\">victimized by plumbing issues\u003c/a>” at the Coliseum, in which human feces, overflow and a mop were involved in the guest dugout. \u003c/p>\n\u003cp>You’d be forgiven to wonder: How could it possibly get worse for the Las Vegas-distracted team that is now looking into \u003ca href=\"https://www.cbssports.com/mlb/news/as-to-meet-with-sacramento-city-officials-about-temporary-home-before-planned-las-vegas-move-per-report/\">a temporary Sacramento relocation\u003c/a>? (\u003cstrong>Update\u003c/strong>: \u003ca href=\"https://www.instagram.com/p/C5WCz4XrW0I/?hl=en\">It’s official — they’re leaving Oakland after the 2024 season\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How about demoting two of the team’s statistically best performers for — wait for it — allegedly wearing fan-made gear? Yes, I’m talking about — wait for it again — \u003ca href=\"https://www.newsweek.com/sports/mlb/mlb-news-oakland-s-wristbandgate-conspiracy-more-theory-1886247\">#WristbandGate\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Esteury Ruiz — who as of this writing wields the team’s highest batting average, and led the A’s in stolen bases last year — was sent down to the Minor Leagues this week. And Brent Rooker — who, admittedly, has struggled to start of his 2024 campaign — has been benched.\u003c/p>\n\u003cp>In Ruiz’s case, the move seems especially confounding, since he’s a fan favorite and one of the franchise’s sole luminaries. But \u003ca href=\"https://twitter.com/LastDiveBar\">The Last Dive Bar\u003c/a> — a fan-owned online merch shop that was \u003ca href=\"https://www.kqed.org/arts/13952437/oakland-as-fans-fest-jack-london-square-2024\">involved in organizing this year’s Oakland Fan Appreciation Day\u003c/a> in Jack London Square — thinks they know why both players were penalized.\u003c/p>\n\u003cp>In a recent Tweet, The Last Dive Bar posted a photo of the players wearing their store’s popular wristbands, which are notoriously associated with a sweeping effort to convince current owner John Fisher to sell the team.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>They’re not the only players to wear the wristbands and get let go — or demoted — by the team, either. Somewhat facetiously, The Last Dive Bar also posted photos of other former Athletics wearing the yellow wristband with the caption reading “Pache gone! Ruiz sent down! Rooker benched! Kap gone!… The truth is out there!!!!”.\u003c/p>\n\u003cp>If you think this sounds like a conspiracy theory (which \u003ca href=\"https://twitter.com/search?q=a%27s%20conspiracy%20theory&src=typed_query\">many fans and baseball writers nationwide are suggesting\u003c/a>), then I will kindly remind you that nothing in the warped upside-down netherworld of the John Fisher-owned Oakland Athletics makes sense, \u003cem>ever\u003c/em> (see: no lights in the stadium, territorial possums, human feces).\u003c/p>\n\u003cp>If you’re asking me — and I’ve seen everything imaginable at the Coliseum, including sexual acts and violent encounters — I think it’s a little more than a tongue-in-cheek theory. Simply put, there’s a reason why it’s believable: A’s management have neglected their duties for far too long and their egos are more fragile and untenable than ever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a former season ticketholder who until recently attended A’s games religiously, I simply want the basic respect any loyal fan deserves. And yes, I want the basic condiments — I’m talking about having simple access to ketchup and barbecue sauce — inside my favorite team’s stadium. And I know I’m not alone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What the Oakland A’s have become under the soulless oversight of Fisher is hard to describe, unless you’ve sat in those rickety bleacher seats or in that mountainous concrete upper deck. But at this point, if you hear a wild-sounding conspiracy theory from A’s fans who’ve endured so much, at this point there’s probably a reason to believe them.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Oakland, 'Dalit Dreamlands' Envisions an Anti-Caste Future",
"headTitle": "In Oakland, ‘Dalit Dreamlands’ Envisions an Anti-Caste Future | KQED",
"content": "\u003cp>In 2022, \u003ca href=\"https://www.instagram.com/meowingmanu/?hl=en\">Manu Kaur\u003c/a> experienced severe hopelessness and depression, to the point of being hospitalized. Kaur, who is Punjabi and Dalit – the latter being a term used to describe the most oppressed people in India’s caste system — comes from a family with a lot of intergenerational trauma. “And as a result, there’s just a lot of mental health issues,” Kaur says. “Depression runs deep.”\u003c/p>\n\u003cp>After Kaur recovered, they decided to host a birthday party to celebrate their life. “It was very queer. It was very trans. It was very rooted in joy and celebration,” Kaur says. “It gave me so much more purpose. And it kind of just showed me like, if I can do that for myself, then I can also do it for [the] community.”\u003c/p>\n\u003cfigure id=\"attachment_13955198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-800x800.jpg\" alt=\"A painting of a man wearing glasses with raised fists around him.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A painting titled ‘Babasaheb Ambedkar with Ambedkarites raising their voices’ by artist Jay Sagathia. \u003ccite>(Jay Sagathia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so they did. Through an Emerging Curators Program with the \u003ca href=\"https://www.aawaa.net/\">Asian American Women Artists Association\u003c/a>, Kaur curated \u003ca href=\"https://www.aawaa.net/dalit-dreamlands\">\u003ci>Dalit Dreamlands: Towards an Anti-Caste Future\u003c/i>\u003c/a>, a multimedia exhibition spotlighting over 30 artists from Dalit, Adivasi (tribes indigenous to South Asia), Afro-Indian, Indo-Fijian, Indo-Caribbean and Muslim communities.\u003c/p>\n\u003cfigure id=\"attachment_13955199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-800x1000.jpg\" alt=\"A profile shot of a non-binary person with their eyes closed wearing a light blue turban.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-scaled.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of ‘Dalit Dreamlands’ curator Manu Kaur. \u003ccite>(Simrah Farrukh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening April 6 during \u003ca href=\"https://en.wikipedia.org/wiki/Dalit_History_Month#:~:text=Dalit%20History%20Month%20is%20an,Ambedkar.\">Dalit History Month\u003c/a>, the exhibition showcases \u003ca href=\"https://www.instagram.com/dalitdreamlands/\">artists working in digital art, painting, fashion design, film and more\u003c/a>. Kaur is featured in the exhibition, as well, in family photographs by photographer \u003ca href=\"https://www.instagram.com/simrahfarrukh/\">Simrah Farrukh\u003c/a>.\u003c/p>\n\u003cp>“It was the first time that my family and I had professional photos taken of us, like, ever. And so that was so meaningful to me because my family doesn’t often get to be celebrated,” Kaur says. “And now to have them exhibited in a gallery space feels so incredible to me.”\u003c/p>\n\u003cfigure id=\"attachment_13955196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-800x1000.jpg\" alt=\"An elder man wearing a turban sits in front of a wall with two paintings on it.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1639x2048.jpg 1639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-scaled.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Manu Kaur’s maternal grandfather, who they call Papi ji. \u003ccite>(Simrah Farrukh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaur hopes the exhibition will educate people on what being Dalit means; “There’s no one ‘look’ to being Dalit,” Kaur says. They also hope it represents the community’s reclamation of the term – which literally translates to “broken” in Sanskrit – and how the community is advocating for a more just future. Kaur says that’s why calling the exhibition \u003ci>Dalit Dreamlands\u003c/i> felt right.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The way I would say it in Punjabi is ‘Begampura,’ which is supposed to be this utopian land, free of caste, free of discrimination,” Kaur says. The term was coined by Guru Ravidas, the ancient Indian poet, centuries ago. “And so I’m taking that and making it this big umbrella, which is like queer and trans and Dalit and pro-Black, pro-Palestine – all of those things. And so the name stuck because it feels like it’s a dream that I’m making reality.”\u003c/p>\n\u003cfigure id=\"attachment_13955197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-800x1000.jpg\" alt=\"A profile shot of a person draped in a decorative gold top against a blue background.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1920x2401.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-scaled.jpg 2047w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait of Seema Hari. In addition to being in the exhibition, Hari is one of the DJs at the opening night dance party. \u003ccite>(Seema Hari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Dalit Dreamlands: Towards an Anti-Caste Future’ is on view April 6–June 10 at the \u003ca href=\"https://oacc.cc/\">Oakland Asian Cultural Center\u003c/a> (388 9th St. Suite 290, Oakland) and \u003ca href=\"https://www.artogether.org/\">ARTogether\u003c/a> (1200 Harrison St., Oakland). A Zindagi Dance Party follows the opening receptions on April 6 at 7th West (1255 7th St, Oakland). \u003ca href=\"https://lu.ma/dalitdreamlands\">All exhibition and party details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2022, \u003ca href=\"https://www.instagram.com/meowingmanu/?hl=en\">Manu Kaur\u003c/a> experienced severe hopelessness and depression, to the point of being hospitalized. Kaur, who is Punjabi and Dalit – the latter being a term used to describe the most oppressed people in India’s caste system — comes from a family with a lot of intergenerational trauma. “And as a result, there’s just a lot of mental health issues,” Kaur says. “Depression runs deep.”\u003c/p>\n\u003cp>After Kaur recovered, they decided to host a birthday party to celebrate their life. “It was very queer. It was very trans. It was very rooted in joy and celebration,” Kaur says. “It gave me so much more purpose. And it kind of just showed me like, if I can do that for myself, then I can also do it for [the] community.”\u003c/p>\n\u003cfigure id=\"attachment_13955198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-800x800.jpg\" alt=\"A painting of a man wearing glasses with raised fists around him.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A painting titled ‘Babasaheb Ambedkar with Ambedkarites raising their voices’ by artist Jay Sagathia. \u003ccite>(Jay Sagathia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so they did. Through an Emerging Curators Program with the \u003ca href=\"https://www.aawaa.net/\">Asian American Women Artists Association\u003c/a>, Kaur curated \u003ca href=\"https://www.aawaa.net/dalit-dreamlands\">\u003ci>Dalit Dreamlands: Towards an Anti-Caste Future\u003c/i>\u003c/a>, a multimedia exhibition spotlighting over 30 artists from Dalit, Adivasi (tribes indigenous to South Asia), Afro-Indian, Indo-Fijian, Indo-Caribbean and Muslim communities.\u003c/p>\n\u003cfigure id=\"attachment_13955199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-800x1000.jpg\" alt=\"A profile shot of a non-binary person with their eyes closed wearing a light blue turban.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-scaled.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of ‘Dalit Dreamlands’ curator Manu Kaur. \u003ccite>(Simrah Farrukh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening April 6 during \u003ca href=\"https://en.wikipedia.org/wiki/Dalit_History_Month#:~:text=Dalit%20History%20Month%20is%20an,Ambedkar.\">Dalit History Month\u003c/a>, the exhibition showcases \u003ca href=\"https://www.instagram.com/dalitdreamlands/\">artists working in digital art, painting, fashion design, film and more\u003c/a>. Kaur is featured in the exhibition, as well, in family photographs by photographer \u003ca href=\"https://www.instagram.com/simrahfarrukh/\">Simrah Farrukh\u003c/a>.\u003c/p>\n\u003cp>“It was the first time that my family and I had professional photos taken of us, like, ever. And so that was so meaningful to me because my family doesn’t often get to be celebrated,” Kaur says. “And now to have them exhibited in a gallery space feels so incredible to me.”\u003c/p>\n\u003cfigure id=\"attachment_13955196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-800x1000.jpg\" alt=\"An elder man wearing a turban sits in front of a wall with two paintings on it.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1639x2048.jpg 1639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-scaled.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Manu Kaur’s maternal grandfather, who they call Papi ji. \u003ccite>(Simrah Farrukh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaur hopes the exhibition will educate people on what being Dalit means; “There’s no one ‘look’ to being Dalit,” Kaur says. They also hope it represents the community’s reclamation of the term – which literally translates to “broken” in Sanskrit – and how the community is advocating for a more just future. Kaur says that’s why calling the exhibition \u003ci>Dalit Dreamlands\u003c/i> felt right.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The way I would say it in Punjabi is ‘Begampura,’ which is supposed to be this utopian land, free of caste, free of discrimination,” Kaur says. The term was coined by Guru Ravidas, the ancient Indian poet, centuries ago. “And so I’m taking that and making it this big umbrella, which is like queer and trans and Dalit and pro-Black, pro-Palestine – all of those things. And so the name stuck because it feels like it’s a dream that I’m making reality.”\u003c/p>\n\u003cfigure id=\"attachment_13955197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-800x1000.jpg\" alt=\"A profile shot of a person draped in a decorative gold top against a blue background.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1920x2401.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-scaled.jpg 2047w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait of Seema Hari. In addition to being in the exhibition, Hari is one of the DJs at the opening night dance party. \u003ccite>(Seema Hari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Dalit Dreamlands: Towards an Anti-Caste Future’ is on view April 6–June 10 at the \u003ca href=\"https://oacc.cc/\">Oakland Asian Cultural Center\u003c/a> (388 9th St. Suite 290, Oakland) and \u003ca href=\"https://www.artogether.org/\">ARTogether\u003c/a> (1200 Harrison St., Oakland). A Zindagi Dance Party follows the opening receptions on April 6 at 7th West (1255 7th St, Oakland). \u003ca href=\"https://lu.ma/dalitdreamlands\">All exhibition and party details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Workers at Oakland’s Creative Growth Form a Union",
"headTitle": "Workers at Oakland’s Creative Growth Form a Union | KQED",
"content": "\u003cp>Only four months in, 2024 is turning into a banner year for organizing in the Bay Area arts world. Just weeks after OMCA Workers United received \u003ca href=\"https://www.kqed.org/arts/13954144/omca-voluntarily-recognizes-union-of-omca-workers-united\">voluntary recognition of their union\u003c/a> from the Oakland Museum of California, staff at the Oakland arts center \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> are asking for the same.\u003c/p>\n\u003cp>[aside postID='arts_13954144,arts_13951003']Creative Growth United, also affiliated with the American Federation of State, County and Municipal Employees (AFSCME) Council 57, would cover an estimated 34 workers, including art facilitators and instructors, program coordinators, gallery staff and other direct-service providers. The union would represent around 85% of Creative Growth employees.\u003c/p>\n\u003cp>Founded 50 years ago, Creative Growth was created by Elias Katz and Florence Ludins-Katz to support artists with disabilities, many of them newly deinstitutionalized from California hospitals. Today, the nonprofit is the city’s second-largest arts organization, working with over 140 artists in a variety of media; providing artistic support, materials and space; mounting exhibitions; and facilitating both loans and sales.\u003c/p>\n\u003cp>The union delivered their letter by email to Interim Executive Director Tom di Maria and the Creative Growth Board of Trustees on Tuesday morning, requesting voluntary recognition. “I want to express our positive stance towards our staff’s desire to form a union,” di Maria wrote in an email to KQED. “We learned of this development just hours ago and have already reached out to the union to initiate a conversation. We are currently awaiting their response. I believe that this step reflects our collective commitment to fostering an open, respectful, and supportive work environment.” \u003c/p>\n\u003cfigure id=\"attachment_13954784\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg\" alt=\"Hand holding red hair dryer over navy shirt with hand drawn logo\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Jim McAuley dries a screen-printed Creative Growth United shirt during a pre-announcement print party. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December 2023, 34 staff members signed a letter to Creative Growth expressing concern over the organization’s hiring practices. “Most recently, a management position was created and filled without our being aware of any outreach or equitable process, or even the fact that this position existed,” the letter reads, warning of the pitfalls of hiring friends, partners or people from “our usual circles.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Creative Growth’s previous executive director, Ginger Shulick Porcella, left in January 2024, after just a year in the position.\u003c/p>\n\u003cp>Ariel Cooper, who has worked at Creative Growth for just over a year, was one of the first people to join the organizing effort. “I had only been working there for a few months, but it was pretty clear that there was a lot of chaos,” she says. “There had been a lot of turnover at the managerial and directorial level over the last several years.”\u003c/p>\n\u003cp>Among the issues the union will bring to the bargaining table are “more equitable hiring and pay practices” and standardized benefits, today’s letter states.\u003c/p>\n\u003cp>“So much of hiring stems from volunteering — so, free labor — and really low-paid substituting,” says Soph Alvarez, who speaks from direct experience of this path to full-time employment. “Either you have to sacrifice your financial stability, or you simply just have the means, and it changes the demographics of who can work there.”\u003c/p>\n\u003cfigure id=\"attachment_13954782\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg\" alt=\"two people lean over screen as one of them pulls ink down in busy shop\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Steph Kudisch, center, demonstrates screen printing to Daisy Jaberi, right, as Creative Growth United members gear up for the announcement of their union. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At stake, Alvarez says, is Creative Growth’s ability to represent the diversity of Oakland’s community and its artists.\u003c/p>\n\u003cp>Raising wages, both Alvarez and Cooper note, can also create stability for the artists, who form close bonds with instructors and facilitators. “Turnover really impacts the artists,” Alvarez says. “It can be really dysregulating, and it can really shake them up when people leave.”\u003c/p>\n\u003cp>In addition to tangible points like staff and artist representation on the board, the union aims to negotiate based on the principles of disability justice; the Boycott, Divestment, Sanctions (BDS) movement; and the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI).\u003c/p>\n\u003cp>Creative Growth workers recently joined staff at Richmond’s NIAD (Nurturing Independence through Artistic Development) and San Francisco’s Creativity Explored to form \u003ca href=\"https://www.instagram.com/pass_for_a_free_palestine/\">Progressive Art Studio Staff for a Free Palestine\u003c/a> (PASS), which calls for a permanent ceasefire in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13954780\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg\" alt=\"Red and purple buttons in a pile\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Freshly made Creative Growth United pins sit on a table at Art Hazelwood’s studio in Richmond. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The union announcement comes at a high profile time for the organization. \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/creative-growth-the-house-that-art-built/\">Creative Growth: The House That Art Built\u003c/a>\u003c/i>, opens at the San Francisco Museum of Modern Art on April 6, along with a mural by Creative Growth artist William Scott. Last fall, SFMOMA announced the acquisition of over 100 works by artists associated with Creative Growth in an “unprecedented partnership.”\u003c/p>\n\u003cp>Union members will hold a “solidarity rally” outside the museum during the April 6 opening, distributing “We Support Creative Growth United” pins and other symbols of support.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s really important for us to recognize the achievement that Creative Growth has been around for 50 years,” Alvarez says. “Hopefully through this union, we can make it last another 50.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Only four months in, 2024 is turning into a banner year for organizing in the Bay Area arts world. Just weeks after OMCA Workers United received \u003ca href=\"https://www.kqed.org/arts/13954144/omca-voluntarily-recognizes-union-of-omca-workers-united\">voluntary recognition of their union\u003c/a> from the Oakland Museum of California, staff at the Oakland arts center \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> are asking for the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Creative Growth United, also affiliated with the American Federation of State, County and Municipal Employees (AFSCME) Council 57, would cover an estimated 34 workers, including art facilitators and instructors, program coordinators, gallery staff and other direct-service providers. The union would represent around 85% of Creative Growth employees.\u003c/p>\n\u003cp>Founded 50 years ago, Creative Growth was created by Elias Katz and Florence Ludins-Katz to support artists with disabilities, many of them newly deinstitutionalized from California hospitals. Today, the nonprofit is the city’s second-largest arts organization, working with over 140 artists in a variety of media; providing artistic support, materials and space; mounting exhibitions; and facilitating both loans and sales.\u003c/p>\n\u003cp>The union delivered their letter by email to Interim Executive Director Tom di Maria and the Creative Growth Board of Trustees on Tuesday morning, requesting voluntary recognition. “I want to express our positive stance towards our staff’s desire to form a union,” di Maria wrote in an email to KQED. “We learned of this development just hours ago and have already reached out to the union to initiate a conversation. We are currently awaiting their response. I believe that this step reflects our collective commitment to fostering an open, respectful, and supportive work environment.” \u003c/p>\n\u003cfigure id=\"attachment_13954784\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg\" alt=\"Hand holding red hair dryer over navy shirt with hand drawn logo\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Jim McAuley dries a screen-printed Creative Growth United shirt during a pre-announcement print party. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December 2023, 34 staff members signed a letter to Creative Growth expressing concern over the organization’s hiring practices. “Most recently, a management position was created and filled without our being aware of any outreach or equitable process, or even the fact that this position existed,” the letter reads, warning of the pitfalls of hiring friends, partners or people from “our usual circles.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Creative Growth’s previous executive director, Ginger Shulick Porcella, left in January 2024, after just a year in the position.\u003c/p>\n\u003cp>Ariel Cooper, who has worked at Creative Growth for just over a year, was one of the first people to join the organizing effort. “I had only been working there for a few months, but it was pretty clear that there was a lot of chaos,” she says. “There had been a lot of turnover at the managerial and directorial level over the last several years.”\u003c/p>\n\u003cp>Among the issues the union will bring to the bargaining table are “more equitable hiring and pay practices” and standardized benefits, today’s letter states.\u003c/p>\n\u003cp>“So much of hiring stems from volunteering — so, free labor — and really low-paid substituting,” says Soph Alvarez, who speaks from direct experience of this path to full-time employment. “Either you have to sacrifice your financial stability, or you simply just have the means, and it changes the demographics of who can work there.”\u003c/p>\n\u003cfigure id=\"attachment_13954782\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg\" alt=\"two people lean over screen as one of them pulls ink down in busy shop\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Steph Kudisch, center, demonstrates screen printing to Daisy Jaberi, right, as Creative Growth United members gear up for the announcement of their union. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At stake, Alvarez says, is Creative Growth’s ability to represent the diversity of Oakland’s community and its artists.\u003c/p>\n\u003cp>Raising wages, both Alvarez and Cooper note, can also create stability for the artists, who form close bonds with instructors and facilitators. “Turnover really impacts the artists,” Alvarez says. “It can be really dysregulating, and it can really shake them up when people leave.”\u003c/p>\n\u003cp>In addition to tangible points like staff and artist representation on the board, the union aims to negotiate based on the principles of disability justice; the Boycott, Divestment, Sanctions (BDS) movement; and the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI).\u003c/p>\n\u003cp>Creative Growth workers recently joined staff at Richmond’s NIAD (Nurturing Independence through Artistic Development) and San Francisco’s Creativity Explored to form \u003ca href=\"https://www.instagram.com/pass_for_a_free_palestine/\">Progressive Art Studio Staff for a Free Palestine\u003c/a> (PASS), which calls for a permanent ceasefire in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13954780\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg\" alt=\"Red and purple buttons in a pile\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Freshly made Creative Growth United pins sit on a table at Art Hazelwood’s studio in Richmond. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The union announcement comes at a high profile time for the organization. \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/creative-growth-the-house-that-art-built/\">Creative Growth: The House That Art Built\u003c/a>\u003c/i>, opens at the San Francisco Museum of Modern Art on April 6, along with a mural by Creative Growth artist William Scott. Last fall, SFMOMA announced the acquisition of over 100 works by artists associated with Creative Growth in an “unprecedented partnership.”\u003c/p>\n\u003cp>Union members will hold a “solidarity rally” outside the museum during the April 6 opening, distributing “We Support Creative Growth United” pins and other symbols of support.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s really important for us to recognize the achievement that Creative Growth has been around for 50 years,” Alvarez says. “Hopefully through this union, we can make it last another 50.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the lessons of Summer 2020 — and dear sweet Moses, there were a lot of lessons that summer — was that random untrained humans should not, under any circumstances, keep tigers. Not Joe Exotic, not Carole Baskin, and not the humans who, back in February, were found housing a severely injured tiger cub.\u003c/p>\n\u003cp>[aside postid='arts_13951961']The big cat — now named Lily — had 10 leg fractures, 50% muscle atrophy and metabolic bone disease. Fortunately, the heroes of California’s Fish and Wildlife Department swept in, \u003ca href=\"https://www.tiktok.com/@oaklandzoo/video/7338878042485427499?lang=en\">saved the little big cat\u003c/a> and safely delivered her into the care of the Oakland Zoo. The vets at the zoo first gave Lily some much-needed medical assistance and calcium supplements, then went about coming up with new and inventive forms of enrichment to get Lily up and moving again. And they’ve had the good sense to document her progress on TikTok.\u003c/p>\n\u003cp>Within days of Lily’s first uneasy steps into professional care, the cub looked brighter, happier and already on the mend. Here she is playing with some strategically placed branches to keep her occupied while her body heals.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@oaklandzoo/video/7342565222491622699\" data-video-id=\"7342565222491622699\">\n\u003csection>\u003ca title=\"@oaklandzoo\" href=\"https://www.tiktok.com/@oaklandzoo?refer=embed\" target=\"_blank\" rel=\"noopener\">@oaklandzoo\u003c/a> Rescued Tiger Update – To promote her healing, we are trying to limit some of her walking and movement while keeping her brain stimulated. However, this limits some of the enrichment we are able to give her. Luckily there are still plenty of things to keep her occupied. Young tigers like to practice their shredding techniques on branches and leaves! \u003ca title=\"tiger\" href=\"https://www.tiktok.com/tag/tiger?refer=embed\" target=\"_blank\" rel=\"noopener\">#tiger\u003c/a> \u003ca title=\"rescue\" href=\"https://www.tiktok.com/tag/rescue?refer=embed\" target=\"_blank\" rel=\"noopener\">#rescue\u003c/a> \u003ca title=\"notapet\" href=\"https://www.tiktok.com/tag/notapet?refer=embed\" target=\"_blank\" rel=\"noopener\">#notapet\u003c/a> \u003ca title=\"notaphotoopp\" href=\"https://www.tiktok.com/tag/notaphotoopp?refer=embed\" target=\"_blank\" rel=\"noopener\">#notaphotoopp\u003c/a> \u003ca title=\"♬ original sound - Oakland Zoo\" href=\"https://www.tiktok.com/music/original-sound-7342565396878215982?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Oakland Zoo\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Here she is with her tiny, derpy face glued to a documentary about tigers.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@oaklandzoo/video/7347538324237864238\" data-video-id=\"7347538324237864238\">\n\u003csection>\u003ca title=\"@oaklandzoo\" href=\"https://www.tiktok.com/@oaklandzoo?refer=embed\" target=\"_blank\" rel=\"noopener\">@oaklandzoo\u003c/a>her name is Lily. as a rescued tiger, Lily is now learning about her own kind.\u003ca title=\"♬ original sound - Oakland Zoo\" href=\"https://www.tiktok.com/music/original-sound-7347538469037542187?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Oakland Zoo\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Vet Hospital Keeper Nikki popped up and gave us an \u003ca href=\"https://www.tiktok.com/@oaklandzoo/video/7350348636825373998?lang=en\">important update a week ago\u003c/a>, explaining that Lily was “opening up quite a bit, getting stronger every day [and] walking really well.” To prove it, the zoo quickly posted footage of Lily playing — with a tree stump and a pig foot popsicle (pigsicle?).\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@oaklandzoo/video/7351089604260416810\" data-video-id=\"7351089604260416810\">\n\u003csection>\u003ca title=\"@oaklandzoo\" href=\"https://www.tiktok.com/@oaklandzoo?refer=embed\" target=\"_blank\" rel=\"noopener\">@oaklandzoo\u003c/a>Meat Lily!\u003ca title=\"♬ Spring - Ningen\" href=\"https://www.tiktok.com/music/Spring-6888502248050001922?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Spring – Ningen\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Over the weekend, Lily even got some quality play time with a bath tub and hose.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@oaklandzoo/video/7351931442223648046\" data-video-id=\"7351931442223648046\">\n\u003csection>\u003ca title=\"@oaklandzoo\" href=\"https://www.tiktok.com/@oaklandzoo?refer=embed\" target=\"_blank\" rel=\"noopener\">@oaklandzoo\u003c/a>don’t go chasing waterfalls…unless you’re Lily. as Lily heals and gets stronger, we’re leveling up her enrichment to help build up her muscle strength and promote her species natural enjoyment for water.\u003ca title=\"♬ original sound - Best parts of RnB\" href=\"https://www.tiktok.com/music/original-sound-7292364850284612357?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Best parts of RnB\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>It’s clear that the Oakland Zoo is working wonders for this orange and black angel. The zoo says it plans to move her to a big cat facility once she’s fully healed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The details of where exactly Lily was found are currently under wraps while her former owners are prosecuted. 2022’s Big Cat Public Safety Act banned private ownership and public contact with tigers and other big cats, and also introduced new restrictions on breeding and ownership.\u003c/p>\n\u003cp>To keep tabs on Lily as she makes progress, follow the Oakland Zoo’s \u003ca href=\"https://www.tiktok.com/@oaklandzoo?lang=en\">TikTok\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UCCDsJ9prIx28MVLRUaL2b1w\">YouTube\u003c/a> and \u003ca href=\"https://www.instagram.com/oaklandzoo/?hl=en\">Instagram\u003c/a> accounts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oH_c7JW5VR8\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the lessons of Summer 2020 — and dear sweet Moses, there were a lot of lessons that summer — was that random untrained humans should not, under any circumstances, keep tigers. Not Joe Exotic, not Carole Baskin, and not the humans who, back in February, were found housing a severely injured tiger cub.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The big cat — now named Lily — had 10 leg fractures, 50% muscle atrophy and metabolic bone disease. Fortunately, the heroes of California’s Fish and Wildlife Department swept in, \u003ca href=\"https://www.tiktok.com/@oaklandzoo/video/7338878042485427499?lang=en\">saved the little big cat\u003c/a> and safely delivered her into the care of the Oakland Zoo. The vets at the zoo first gave Lily some much-needed medical assistance and calcium supplements, then went about coming up with new and inventive forms of enrichment to get Lily up and moving again. And they’ve had the good sense to document her progress on TikTok.\u003c/p>\n\u003cp>Within days of Lily’s first uneasy steps into professional care, the cub looked brighter, happier and already on the mend. Here she is playing with some strategically placed branches to keep her occupied while her body heals.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@oaklandzoo/video/7342565222491622699\" data-video-id=\"7342565222491622699\">\n\u003csection>\u003ca title=\"@oaklandzoo\" href=\"https://www.tiktok.com/@oaklandzoo?refer=embed\" target=\"_blank\" rel=\"noopener\">@oaklandzoo\u003c/a> Rescued Tiger Update – To promote her healing, we are trying to limit some of her walking and movement while keeping her brain stimulated. However, this limits some of the enrichment we are able to give her. Luckily there are still plenty of things to keep her occupied. Young tigers like to practice their shredding techniques on branches and leaves! \u003ca title=\"tiger\" href=\"https://www.tiktok.com/tag/tiger?refer=embed\" target=\"_blank\" rel=\"noopener\">#tiger\u003c/a> \u003ca title=\"rescue\" href=\"https://www.tiktok.com/tag/rescue?refer=embed\" target=\"_blank\" rel=\"noopener\">#rescue\u003c/a> \u003ca title=\"notapet\" href=\"https://www.tiktok.com/tag/notapet?refer=embed\" target=\"_blank\" rel=\"noopener\">#notapet\u003c/a> \u003ca title=\"notaphotoopp\" href=\"https://www.tiktok.com/tag/notaphotoopp?refer=embed\" target=\"_blank\" rel=\"noopener\">#notaphotoopp\u003c/a> \u003ca title=\"♬ original sound - Oakland Zoo\" href=\"https://www.tiktok.com/music/original-sound-7342565396878215982?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Oakland Zoo\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vet Hospital Keeper Nikki popped up and gave us an \u003ca href=\"https://www.tiktok.com/@oaklandzoo/video/7350348636825373998?lang=en\">important update a week ago\u003c/a>, explaining that Lily was “opening up quite a bit, getting stronger every day [and] walking really well.” To prove it, the zoo quickly posted footage of Lily playing — with a tree stump and a pig foot popsicle (pigsicle?).\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@oaklandzoo/video/7351089604260416810\" data-video-id=\"7351089604260416810\">\n\u003csection>\u003ca title=\"@oaklandzoo\" href=\"https://www.tiktok.com/@oaklandzoo?refer=embed\" target=\"_blank\" rel=\"noopener\">@oaklandzoo\u003c/a>Meat Lily!\u003ca title=\"♬ Spring - Ningen\" href=\"https://www.tiktok.com/music/Spring-6888502248050001922?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Spring – Ningen\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the weekend, Lily even got some quality play time with a bath tub and hose.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@oaklandzoo/video/7351931442223648046\" data-video-id=\"7351931442223648046\">\n\u003csection>\u003ca title=\"@oaklandzoo\" href=\"https://www.tiktok.com/@oaklandzoo?refer=embed\" target=\"_blank\" rel=\"noopener\">@oaklandzoo\u003c/a>don’t go chasing waterfalls…unless you’re Lily. as Lily heals and gets stronger, we’re leveling up her enrichment to help build up her muscle strength and promote her species natural enjoyment for water.\u003ca title=\"♬ original sound - Best parts of RnB\" href=\"https://www.tiktok.com/music/original-sound-7292364850284612357?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Best parts of RnB\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s clear that the Oakland Zoo is working wonders for this orange and black angel. The zoo says it plans to move her to a big cat facility once she’s fully healed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The details of where exactly Lily was found are currently under wraps while her former owners are prosecuted. 2022’s Big Cat Public Safety Act banned private ownership and public contact with tigers and other big cats, and also introduced new restrictions on breeding and ownership.\u003c/p>\n\u003cp>To keep tabs on Lily as she makes progress, follow the Oakland Zoo’s \u003ca href=\"https://www.tiktok.com/@oaklandzoo?lang=en\">TikTok\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UCCDsJ9prIx28MVLRUaL2b1w\">YouTube\u003c/a> and \u003ca href=\"https://www.instagram.com/oaklandzoo/?hl=en\">Instagram\u003c/a> accounts.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oH_c7JW5VR8'\n title='//www.youtube.com/embed/oH_c7JW5VR8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp> \u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://linktr.ee/ZoeBoston\" target=\"_blank\" rel=\"noopener\">Zoë Boston\u003c/a> is a talented artist who takes the highs and lows of life, and creates moving works of art of all sorts.\u003c/p>\n\u003cp>She paints huge, brightly-colored murals depicting otherworldly beings, with elements of Afrocentrism and scenes inspired by nature. She also does acrylic-based paintings on canvas, smaller in stature but just as powerful. She’s a fashionista, who knows how to put an outfit together– accessories and all. She’s a writer, of both short journal-like essays and profound lyrics for songs. Plus she’s a talented vocalist.\u003c/p>\n\u003cfigure id=\"attachment_13954859\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954859\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Zoe%CC%88Boston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-800x556.jpg\" alt=\"Zoë Boston wears sunglasses and a denim outfit as she stands in front of a mural depicting a beautiful purple being on a blue background.\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-2048x1423.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-1920x1334.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoë Boston poses for a photo in front of her mural in Detroit, Michigan. \u003ccite>(Joe Carranza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her 2023 single, “\u003ca href=\"https://www.youtube.com/watch?v=bGIO82wzsEE\" target=\"_blank\" rel=\"noopener\">Murky Waters\u003c/a>,” Zoë sings, “We said ‘friends for life,’ didn’t know I was signing mine over,” as she unpacks her experience of surviving an abusive relationship.\u003c/p>\n\u003cp>Zoë, who was born in Southern California and spent some time on the East Coast, found a home in Oakland nearly a decade ago. She initially moved here to be part of a media production team. During that time, however, Zoë says she had unintentionally become a part of a cult and was also sexually assaulted.\u003c/p>\n\u003cp>From that low point she’s built herself up, as well as her art and her community. And it’s this community, namely members of the \u003ca href=\"https://www.thebamp.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Mural Program\u003c/a>, who’ve come to truly see Zoë when she needed it the most.\u003c/p>\n\u003cfigure id=\"attachment_13954860\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Zoe%CC%88Boston_MuralinOakland_TakenBy_Zoe%CC%88Boston-800x1066.jpg\" alt=\"\" width=\"800\" height=\"1066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston.jpg 1087w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural showcasing some of the elements of Oakland: the Bay Bridge, the cranes from the port and a California Poppy– the state flower. \u003ccite>(Zoë Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this year, as bills piled up and money got tight, Zoë created a GoFundMe campaign in order to stay afloat as an artist in the Bay Area. People rushed to her aid, offering over the amount that she asked. A few days later Zoë got some news that was a bit of a cherry on top, as she and fellow visual artist \u003ca href=\"https://www.kqed.org/arts/13868502/from-d-boys-to-dope-art\" target=\"_blank\" rel=\"noopener\">Timothy B\u003c/a>. were awarded a contract through the East Bay Asian Local Development Corporation (\u003ca href=\"https://ebaldc.org/\" target=\"_blank\" rel=\"noopener\">EBALDC\u003c/a>) to paint a mural on a forthcoming low-incoming housing project in West Oakland.\u003c/p>\n\u003cp>Through all of the ups-and-downs of life in the Bay Area, Zoë has relied on community, art and a commitment to personal growth. And this week on Rightnowish, we talk about it all.\u003c/p>\n\u003cfigure id=\"attachment_13954861\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954861 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Zoe%CC%88Boston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-800x1044.jpg\" alt=\"Zoë Boston wears a plaid long-sleeve shirt as she poses for a photo in front of her mural on the Casa Sueños Apartments in East Oakland.\" width=\"800\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-800x1044.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-1020x1332.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux.jpg 1110w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoë Boston poses for a photo in front of her mural on the Casa Sueños Apartment Building in East Oakland. \u003ccite>(B DeVeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4128307044\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up, y’all! Welcome to Rightnowish, I’m your host Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today we’re talking to Zoë Boston. She’s an artist, excuse me, an artiste. And she can express herself in a number of ways. \u003c/span>\u003cspan style=\"font-weight: 400\">She paints huge aerosol pieces depicting Afrocentric figures with Bantu knots and locs, posing in empowering positions and surrounded by bold colors. They adorn the walls of well-known Bay Area hangouts– like the Ivy Room over in Albany, Black Girls Greenhouse in Oakland and San Francisco’s Museum of the African Diaspora. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She also paints acrylic and oil based images of cosmic beings on canvases, much smaller than her aerosol pieces, but just as powerful. Plus, she’s a writer. Her essays are personal and reflective of self discovery. She can even sing when she chooses to.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Zoë had been on my radar for a while, but I hadn’t taken time to really study her work– until last fall. That’s when she piqued my interest with a track she dropped titled, “Murky Waters” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I followed her on social media, a few weeks later I saw that Zoë had found herself in a financial bind. Late on rent and bills piling up, she turned to her community for funding to stay afloat. I watched as the donations for her GoFundMe exceeded her ask.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then, a few days later, a cherry on top: she was awarded a major contract to paint a mural on a low-income housing facility being built in West Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I knew then that it was time to talk. I had to know how Zoë was dealing with the highs and lows of life, and how she uses her many forms of art to handle all that comes with this roller coaster called living in the Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You saw some real interesting highs and some heavy lows in this past month or so. And, I wanted to start off with the good, some news that I saw that you and fellow artist Timothy B, well known visual artist and former Rightnowish guest, were awarded a contract by EBALC, the East Bay Asian Local Development Corporation, to do a mural on a forthcoming affordable permanent housing site, Phoenix Public Arts Project, in West Oakland. How does it feel to have that honor? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston: \u003c/b>\u003cspan style=\"font-weight: 400\">It feels full circle. It feels like divine timing. I feel like this year’s definitely a resurgence for me. And so, to be able to paint a mural on, um, an apartment complex that’s named the Phoenix is so fitting for me. Like, it seems like it’s meant to be for this year. And I’m extremely excited and, like, honored to be a part. And yeah, it’s going to be great. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Nice, have something to look forward to this year as they’re still building the actual facility. Right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, they’re still building it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This good news comes on the heels of some pretty heavy news. At the start of January, you were vulnerable enough to make a public plea with folks, asking for assistance with your finances for living. You made a GoFundMe for a very specific ask of rent and bills totaling $10,255 and you got $11,119. How did it feel to have that kind of support? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston:\u003c/b>\u003cspan style=\"font-weight: 400\"> It was honestly healing for me because I have struggled with asking for help in the past. Even to put the GoFundMe out there was an incredible feat for me, a breakthrough for me, just being seen in that way and being vulnerable in that way. Especially in the past when I’ve reached out for help in different avenues, I’ve been received with more social shame, or questions, or victim blaming, or ridicule, and so it was terrifying to even put the ask out there. But I knew that I had to get over my fear. You know, I was at a point where it’s just like, well, I need help. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> When you say vulnerable, it wasn’t just rent and bills. It was also you being explicit about, um, a recent discovery that you had. In the GoFundMe it said you had a recent discovery that you are neurodivergent and somewhere in the autistic spectrum. I think that’s a very relatable experience for our generation, especially since people of color are historically underdiagnosed. What specifically were you experiencing that led to this discovery? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston:\u003c/b>\u003cspan style=\"font-weight: 400\"> Well, honestly, since I’ve been born, I’ve always felt different. I’ve never really felt like I fit in. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The generation before us didn’t have the vocabulary and the tools to name some of the things that we are experiencing now. So I was just labeled as, you know, the oddball or like the black sheep of the situation. So you just sit with that. It’s like, well, I’m just I guess I’m just different. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It seems like I’m in a world that is not built for me and not designed for me. And no matter how hard I try to articulate what I’m experiencing, I get invalidated based on other people’s perception of me and other people’s understanding of my experiences. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What started it was just this self-healing journey after escaping a cult and dealing with narcissistic abuse and sexual assault. Like, I went on a journey of self healing and understanding. Because I got to a point where I realized, like, okay, like I’m reaching out and looking outward to be validated and seen and heard. But reality is, I need to understand myself and validate myself and see myself so I can heal and move past this. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I started off with mental health. I started off with learning about narcissistic abuse. I started off learning about cult culture. And, you know, you go down these bunny trails and you start finding things about neurodivergence and you’re like, ‘wait, I relate to this.’ Like, well, that’s interesting. And then you just keep reading like, ‘wait, I relate to that too.’ And you keep reading and you’re like, ‘wait, I’ve never been able to articulate this feeling,’ and someone else has found the words for me like, ‘wait, oh my goodness, there’s a whole community of people like this?’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s like, you know, you go through these processes of like, well, maybe I’m not really neurodivergent, maybe I just want attention, or maybe I’m just like trying to find a solution. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And you keep doing research and you realize like, yeah, well, this all fits, and it makes my entire life make sense. It allowed me to really understand that I’m not broken or flawed, I’m just different. And there’s a whole community of people who are different, like me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being seen and seeing yourself as well. Like doing the self-discovery, the research, as you mentioned, and the trauma that you navigated is heavy stuff. And it’s, it’s something that you put into music as well. You’re not just a visual artist. And in 2023, you dropped a track, “Murky Water.” What’s the meaning behind the lyrics in that song? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s a narrative story of my experience going into the environment I was in at the cult and experiencing assault and betrayal, and betrayal, trauma and all the things associated with it. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music-Clip from Murky Waters by Zoë Boston]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">We said friends for life, d\u003c/span>\u003c/em>\u003cem>\u003cspan style=\"font-weight: 400\">idn’t know I was signing mine over. \u003c/span>\u003c/em>\u003cem>\u003cspan style=\"font-weight: 400\">You said I could trust you…\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I actually wrote it in 2021, and it was at a point where I wasn’t really writing that much anymore. I was kind of stagnant and like… stuck in my own trauma and trying to understand the world. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it hit me. I was like, oh, it’s time. It’s time to tell that story. And I don’t even think I was fully prepared for it, because the way, like, the first line came out, “Can’t see around me, can’t feel my body no more,” and from there, it just… everything poured out, line for line. Every line rhymed and I was able to articulate this story so perfectly. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like, I remember I couldn’t stop listening to it for like weeks. I remember the first 24 hours I couldn’t stop crying, it was such a supernatural release. And I’m grateful to God that I tapped into that source to release that because it definitely was a catalyst to my own healing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I sat with it for a couple of years, didn’t know exactly what to do with it. But I got to the point where I knew that, you know, if I experienced something like this, maybe it’s not as common, but I know there’s other people who have been through situations like this and don’t have the words, don’t have the vocabulary to articulate the complex and deep feelings that they’ve experienced. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Without reopening old wounds. I’m wondering if there’s a way to shed light on what you experienced. Just so people can understand what you’ve traversed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston: \u003c/b>\u003cspan style=\"font-weight: 400\">2014, I came to the Bay area to visit a production company. It was a one stop shop where artists could come and get their ideas out. Everyone was working together as a team. You know, we had visual artists. We had singer songwriters. We had producers. We had mixing engineers. We had photography. We had graphic design. It was all state of the art, top, top, top. Like to this day, some of the people I’ve met there are still some of the most gifted people I’ve ever met in my life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">It was also tied to a church and so one of the stipulations was that you had to go to the church. But fast forward, I found out through unfortunate situations or circumstances that it was actually a cult. It’s very controlling and manipulative. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The CEO of the production company was also the pastor, also our mentor. Like, in hindsight, he had way too much power. Like, it’s funny how you see things after they happen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He started to pretend like he was my friend and kind of get in my space and try to figure me out. And it turned into this accelerated grooming process, where I found myself being sexually assaulted by him. And through the shock of that, it opened my eyes to really see what was going on. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I am not where I thought I was. I am not in a safe place. This man who is professing to be a man of God is the farthest from God, the furthest from the truth, the furthest from light. But yeah, we confronted him. He still wasn’t accountable. And within a week, I made my way out of there, never to return. And so I’ve been dealing with the aftermath of that honestly, since then.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The release of the song definitely helped me to understand the full capacity of what I experienced. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s not like robes and it was not weird rituals and all these things, like, it was very covert, very normal from the outside looking in. It was very welcoming and warm. It was slow bait and switch for sure. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’ve heard you talk before about using your craft to “alchemize” your experiences. What does that mean? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think it’s part of my purpose and my calling to, you know, be an alchemist. But just the importance of taking, kind of taking the ugly and the dirt and the pain and the trauma that we’re experiencing and finding the golden nuggets in it, finding the learning lesson so that you actually can grow from it, and then transforming it in a way that it’s easy for others to also learn from the experience. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Is there something you do in that process that’s like the first step that allows you to make work out of these traumatic experiences? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston:\u003c/b>\u003cspan style=\"font-weight: 400\"> The first step is stillness, rest, sitting with it for a while, almost like a germination process, if that makes sense, If you want to use the analogy of a seed, you know. It’s important to actually feel the emotions you’re feeling and not run from them. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I picture what has actually happened and then from there, I can create analogies and similes and metaphors to articulate what I’ve experienced, whether it’s visual or through lyrics. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\">Is there a form of art that is the first tool that you grab when you reach in your artistic toolbox? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Oh, man, it really depends on the urgency of the expression. So if it’s something that I’ve sat with for a while and I’m ready to share that story in a way, I usually will go towards, visual arts, like painting.\u003c/span> \u003cspan style=\"font-weight: 400\">So it just depends on the urgency for me, but I like to use both mediums.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And then your paintings we’re in an audio medium right now, but in describing the visuals that you paint, like I’m looking at, like, extraterrestrial metaphysics. There’s universal elements, Black bodies, empowerment. I’m seeing a lot of bright colors and just taking it in it’s, it’s definitely something to, like, sit and engage with. What do you want the audience to gain from your work? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston: \u003c/b>\u003cspan style=\"font-weight: 400\">I want them to remember that they are supernatural. And I want people to remember that anything is possible. And I think we’re in such a capitalist society that we forget how extraordinary we are. We forget that, you know, we’re tapped into this infinite, supernatural energy source and that we really have the power to manifest and move things in a way that I think we’ve kind of grown dull to. And so I want, through my art, I want people to remember who they are. I want people to remember that they have the power to change their lives.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Amen. Thank you for that. Thank you. \u003c/span>\u003cspan style=\"font-weight: 400\">Big thank you to Zoë Boston, I hope you keep painting. I hope you keep creating. I hope you keep being seen!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I mentioned, her work can be found around the Bay Area, and you can find Zoë directly on social media, her Instagram handle is ZoeAdiahBoston. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. \u003c/span>\u003cspan style=\"font-weight: 400\">It was produced by Marisol Medina-Cadena and Maya Cueva. \u003c/span>\u003cspan style=\"font-weight: 400\">It was edited by Chris Hambrick.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our engineer is Christopher Beale. \u003c/span>\u003cspan style=\"font-weight: 400\">And Sheree Bishop is the Rightnowish intern. \u003c/span>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Xorje Olivares, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening! Until next time, peace. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://linktr.ee/ZoeBoston\" target=\"_blank\" rel=\"noopener\">Zoë Boston\u003c/a> is a talented artist who takes the highs and lows of life, and creates moving works of art of all sorts.\u003c/p>\n\u003cp>She paints huge, brightly-colored murals depicting otherworldly beings, with elements of Afrocentrism and scenes inspired by nature. She also does acrylic-based paintings on canvas, smaller in stature but just as powerful. She’s a fashionista, who knows how to put an outfit together– accessories and all. She’s a writer, of both short journal-like essays and profound lyrics for songs. Plus she’s a talented vocalist.\u003c/p>\n\u003cfigure id=\"attachment_13954859\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954859\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Zoe%CC%88Boston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-800x556.jpg\" alt=\"Zoë Boston wears sunglasses and a denim outfit as she stands in front of a mural depicting a beautiful purple being on a blue background.\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-2048x1423.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_PhotoBy_JoeCarranza_TakeIn_DetroitMI-1920x1334.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoë Boston poses for a photo in front of her mural in Detroit, Michigan. \u003ccite>(Joe Carranza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her 2023 single, “\u003ca href=\"https://www.youtube.com/watch?v=bGIO82wzsEE\" target=\"_blank\" rel=\"noopener\">Murky Waters\u003c/a>,” Zoë sings, “We said ‘friends for life,’ didn’t know I was signing mine over,” as she unpacks her experience of surviving an abusive relationship.\u003c/p>\n\u003cp>Zoë, who was born in Southern California and spent some time on the East Coast, found a home in Oakland nearly a decade ago. She initially moved here to be part of a media production team. During that time, however, Zoë says she had unintentionally become a part of a cult and was also sexually assaulted.\u003c/p>\n\u003cp>From that low point she’s built herself up, as well as her art and her community. And it’s this community, namely members of the \u003ca href=\"https://www.thebamp.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Mural Program\u003c/a>, who’ve come to truly see Zoë when she needed it the most.\u003c/p>\n\u003cfigure id=\"attachment_13954860\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Zoe%CC%88Boston_MuralinOakland_TakenBy_Zoe%CC%88Boston-800x1066.jpg\" alt=\"\" width=\"800\" height=\"1066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_MuralinOakland_TakenBy_ZoëBoston.jpg 1087w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural showcasing some of the elements of Oakland: the Bay Bridge, the cranes from the port and a California Poppy– the state flower. \u003ccite>(Zoë Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this year, as bills piled up and money got tight, Zoë created a GoFundMe campaign in order to stay afloat as an artist in the Bay Area. People rushed to her aid, offering over the amount that she asked. A few days later Zoë got some news that was a bit of a cherry on top, as she and fellow visual artist \u003ca href=\"https://www.kqed.org/arts/13868502/from-d-boys-to-dope-art\" target=\"_blank\" rel=\"noopener\">Timothy B\u003c/a>. were awarded a contract through the East Bay Asian Local Development Corporation (\u003ca href=\"https://ebaldc.org/\" target=\"_blank\" rel=\"noopener\">EBALDC\u003c/a>) to paint a mural on a forthcoming low-incoming housing project in West Oakland.\u003c/p>\n\u003cp>Through all of the ups-and-downs of life in the Bay Area, Zoë has relied on community, art and a commitment to personal growth. And this week on Rightnowish, we talk about it all.\u003c/p>\n\u003cfigure id=\"attachment_13954861\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954861 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Zoe%CC%88Boston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-800x1044.jpg\" alt=\"Zoë Boston wears a plaid long-sleeve shirt as she poses for a photo in front of her mural on the Casa Sueños Apartments in East Oakland.\" width=\"800\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-800x1044.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-1020x1332.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ZoëBoston_AtCasaSuenosApartments_-35thAveInOakland-California_TakenBy_-B-DeVeaux.jpg 1110w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoë Boston poses for a photo in front of her mural on the Casa Sueños Apartment Building in East Oakland. \u003ccite>(B DeVeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4128307044\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up, y’all! Welcome to Rightnowish, I’m your host Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today we’re talking to Zoë Boston. She’s an artist, excuse me, an artiste. And she can express herself in a number of ways. \u003c/span>\u003cspan style=\"font-weight: 400\">She paints huge aerosol pieces depicting Afrocentric figures with Bantu knots and locs, posing in empowering positions and surrounded by bold colors. They adorn the walls of well-known Bay Area hangouts– like the Ivy Room over in Albany, Black Girls Greenhouse in Oakland and San Francisco’s Museum of the African Diaspora. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She also paints acrylic and oil based images of cosmic beings on canvases, much smaller than her aerosol pieces, but just as powerful. Plus, she’s a writer. Her essays are personal and reflective of self discovery. She can even sing when she chooses to.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Zoë had been on my radar for a while, but I hadn’t taken time to really study her work– until last fall. That’s when she piqued my interest with a track she dropped titled, “Murky Waters” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I followed her on social media, a few weeks later I saw that Zoë had found herself in a financial bind. Late on rent and bills piling up, she turned to her community for funding to stay afloat. I watched as the donations for her GoFundMe exceeded her ask.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then, a few days later, a cherry on top: she was awarded a major contract to paint a mural on a low-income housing facility being built in West Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I knew then that it was time to talk. I had to know how Zoë was dealing with the highs and lows of life, and how she uses her many forms of art to handle all that comes with this roller coaster called living in the Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You saw some real interesting highs and some heavy lows in this past month or so. And, I wanted to start off with the good, some news that I saw that you and fellow artist Timothy B, well known visual artist and former Rightnowish guest, were awarded a contract by EBALC, the East Bay Asian Local Development Corporation, to do a mural on a forthcoming affordable permanent housing site, Phoenix Public Arts Project, in West Oakland. How does it feel to have that honor? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston: \u003c/b>\u003cspan style=\"font-weight: 400\">It feels full circle. It feels like divine timing. I feel like this year’s definitely a resurgence for me. And so, to be able to paint a mural on, um, an apartment complex that’s named the Phoenix is so fitting for me. Like, it seems like it’s meant to be for this year. And I’m extremely excited and, like, honored to be a part. And yeah, it’s going to be great. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Nice, have something to look forward to this year as they’re still building the actual facility. Right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes, they’re still building it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This good news comes on the heels of some pretty heavy news. At the start of January, you were vulnerable enough to make a public plea with folks, asking for assistance with your finances for living. You made a GoFundMe for a very specific ask of rent and bills totaling $10,255 and you got $11,119. How did it feel to have that kind of support? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston:\u003c/b>\u003cspan style=\"font-weight: 400\"> It was honestly healing for me because I have struggled with asking for help in the past. Even to put the GoFundMe out there was an incredible feat for me, a breakthrough for me, just being seen in that way and being vulnerable in that way. Especially in the past when I’ve reached out for help in different avenues, I’ve been received with more social shame, or questions, or victim blaming, or ridicule, and so it was terrifying to even put the ask out there. But I knew that I had to get over my fear. You know, I was at a point where it’s just like, well, I need help. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> When you say vulnerable, it wasn’t just rent and bills. It was also you being explicit about, um, a recent discovery that you had. In the GoFundMe it said you had a recent discovery that you are neurodivergent and somewhere in the autistic spectrum. I think that’s a very relatable experience for our generation, especially since people of color are historically underdiagnosed. What specifically were you experiencing that led to this discovery? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston:\u003c/b>\u003cspan style=\"font-weight: 400\"> Well, honestly, since I’ve been born, I’ve always felt different. I’ve never really felt like I fit in. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The generation before us didn’t have the vocabulary and the tools to name some of the things that we are experiencing now. So I was just labeled as, you know, the oddball or like the black sheep of the situation. So you just sit with that. It’s like, well, I’m just I guess I’m just different. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It seems like I’m in a world that is not built for me and not designed for me. And no matter how hard I try to articulate what I’m experiencing, I get invalidated based on other people’s perception of me and other people’s understanding of my experiences. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What started it was just this self-healing journey after escaping a cult and dealing with narcissistic abuse and sexual assault. Like, I went on a journey of self healing and understanding. Because I got to a point where I realized, like, okay, like I’m reaching out and looking outward to be validated and seen and heard. But reality is, I need to understand myself and validate myself and see myself so I can heal and move past this. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I started off with mental health. I started off with learning about narcissistic abuse. I started off learning about cult culture. And, you know, you go down these bunny trails and you start finding things about neurodivergence and you’re like, ‘wait, I relate to this.’ Like, well, that’s interesting. And then you just keep reading like, ‘wait, I relate to that too.’ And you keep reading and you’re like, ‘wait, I’ve never been able to articulate this feeling,’ and someone else has found the words for me like, ‘wait, oh my goodness, there’s a whole community of people like this?’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s like, you know, you go through these processes of like, well, maybe I’m not really neurodivergent, maybe I just want attention, or maybe I’m just like trying to find a solution. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And you keep doing research and you realize like, yeah, well, this all fits, and it makes my entire life make sense. It allowed me to really understand that I’m not broken or flawed, I’m just different. And there’s a whole community of people who are different, like me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being seen and seeing yourself as well. Like doing the self-discovery, the research, as you mentioned, and the trauma that you navigated is heavy stuff. And it’s, it’s something that you put into music as well. You’re not just a visual artist. And in 2023, you dropped a track, “Murky Water.” What’s the meaning behind the lyrics in that song? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s a narrative story of my experience going into the environment I was in at the cult and experiencing assault and betrayal, and betrayal, trauma and all the things associated with it. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music-Clip from Murky Waters by Zoë Boston]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">We said friends for life, d\u003c/span>\u003c/em>\u003cem>\u003cspan style=\"font-weight: 400\">idn’t know I was signing mine over. \u003c/span>\u003c/em>\u003cem>\u003cspan style=\"font-weight: 400\">You said I could trust you…\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I actually wrote it in 2021, and it was at a point where I wasn’t really writing that much anymore. I was kind of stagnant and like… stuck in my own trauma and trying to understand the world. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it hit me. I was like, oh, it’s time. It’s time to tell that story. And I don’t even think I was fully prepared for it, because the way, like, the first line came out, “Can’t see around me, can’t feel my body no more,” and from there, it just… everything poured out, line for line. Every line rhymed and I was able to articulate this story so perfectly. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like, I remember I couldn’t stop listening to it for like weeks. I remember the first 24 hours I couldn’t stop crying, it was such a supernatural release. And I’m grateful to God that I tapped into that source to release that because it definitely was a catalyst to my own healing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I sat with it for a couple of years, didn’t know exactly what to do with it. But I got to the point where I knew that, you know, if I experienced something like this, maybe it’s not as common, but I know there’s other people who have been through situations like this and don’t have the words, don’t have the vocabulary to articulate the complex and deep feelings that they’ve experienced. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Without reopening old wounds. I’m wondering if there’s a way to shed light on what you experienced. Just so people can understand what you’ve traversed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston: \u003c/b>\u003cspan style=\"font-weight: 400\">2014, I came to the Bay area to visit a production company. It was a one stop shop where artists could come and get their ideas out. Everyone was working together as a team. You know, we had visual artists. We had singer songwriters. We had producers. We had mixing engineers. We had photography. We had graphic design. It was all state of the art, top, top, top. Like to this day, some of the people I’ve met there are still some of the most gifted people I’ve ever met in my life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">It was also tied to a church and so one of the stipulations was that you had to go to the church. But fast forward, I found out through unfortunate situations or circumstances that it was actually a cult. It’s very controlling and manipulative. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The CEO of the production company was also the pastor, also our mentor. Like, in hindsight, he had way too much power. Like, it’s funny how you see things after they happen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He started to pretend like he was my friend and kind of get in my space and try to figure me out. And it turned into this accelerated grooming process, where I found myself being sexually assaulted by him. And through the shock of that, it opened my eyes to really see what was going on. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I am not where I thought I was. I am not in a safe place. This man who is professing to be a man of God is the farthest from God, the furthest from the truth, the furthest from light. But yeah, we confronted him. He still wasn’t accountable. And within a week, I made my way out of there, never to return. And so I’ve been dealing with the aftermath of that honestly, since then.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The release of the song definitely helped me to understand the full capacity of what I experienced. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s not like robes and it was not weird rituals and all these things, like, it was very covert, very normal from the outside looking in. It was very welcoming and warm. It was slow bait and switch for sure. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’ve heard you talk before about using your craft to “alchemize” your experiences. What does that mean? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think it’s part of my purpose and my calling to, you know, be an alchemist. But just the importance of taking, kind of taking the ugly and the dirt and the pain and the trauma that we’re experiencing and finding the golden nuggets in it, finding the learning lesson so that you actually can grow from it, and then transforming it in a way that it’s easy for others to also learn from the experience. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Is there something you do in that process that’s like the first step that allows you to make work out of these traumatic experiences? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston:\u003c/b>\u003cspan style=\"font-weight: 400\"> The first step is stillness, rest, sitting with it for a while, almost like a germination process, if that makes sense, If you want to use the analogy of a seed, you know. It’s important to actually feel the emotions you’re feeling and not run from them. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I picture what has actually happened and then from there, I can create analogies and similes and metaphors to articulate what I’ve experienced, whether it’s visual or through lyrics. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\">Is there a form of art that is the first tool that you grab when you reach in your artistic toolbox? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Oh, man, it really depends on the urgency of the expression. So if it’s something that I’ve sat with for a while and I’m ready to share that story in a way, I usually will go towards, visual arts, like painting.\u003c/span> \u003cspan style=\"font-weight: 400\">So it just depends on the urgency for me, but I like to use both mediums.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And then your paintings we’re in an audio medium right now, but in describing the visuals that you paint, like I’m looking at, like, extraterrestrial metaphysics. There’s universal elements, Black bodies, empowerment. I’m seeing a lot of bright colors and just taking it in it’s, it’s definitely something to, like, sit and engage with. What do you want the audience to gain from your work? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Zoë Boston: \u003c/b>\u003cspan style=\"font-weight: 400\">I want them to remember that they are supernatural. And I want people to remember that anything is possible. And I think we’re in such a capitalist society that we forget how extraordinary we are. We forget that, you know, we’re tapped into this infinite, supernatural energy source and that we really have the power to manifest and move things in a way that I think we’ve kind of grown dull to. And so I want, through my art, I want people to remember who they are. I want people to remember that they have the power to change their lives.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Amen. Thank you for that. Thank you. \u003c/span>\u003cspan style=\"font-weight: 400\">Big thank you to Zoë Boston, I hope you keep painting. I hope you keep creating. I hope you keep being seen!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I mentioned, her work can be found around the Bay Area, and you can find Zoë directly on social media, her Instagram handle is ZoeAdiahBoston. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. \u003c/span>\u003cspan style=\"font-weight: 400\">It was produced by Marisol Medina-Cadena and Maya Cueva. \u003c/span>\u003cspan style=\"font-weight: 400\">It was edited by Chris Hambrick.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our engineer is Christopher Beale. \u003c/span>\u003cspan style=\"font-weight: 400\">And Sheree Bishop is the Rightnowish intern. \u003c/span>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Xorje Olivares, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening! Until next time, peace. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"title": "Alta, ‘Shameless Hussy’ and Founder of Nation's First Feminist Press, Dies at 81",
"headTitle": "Alta, ‘Shameless Hussy’ and Founder of Nation’s First Feminist Press, Dies at 81 | KQED",
"content": "\u003cfigure id=\"attachment_13954753\" class=\"wp-caption aligncenter\" style=\"max-width: 1533px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg\" alt=\"A young woman with a short bob haircut stands in a collared shirt and pants at a large metal printing press in a cluttered room.\" width=\"1533\" height=\"1920\" class=\"size-full wp-image-13954753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1226x1536.jpg 1226w\" sizes=\"(max-width: 1533px) 100vw, 1533px\">\u003cfigcaption class=\"wp-caption-text\">Alta at her printing press, circa 1972. Founded in 1969, Shameless Hussy Press was first to publish the work of Ntozake Shange and others, and is recognized as the first feminist press in the United States. \u003ccite>(Paul Steinbrink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alta Gerrey loved being in the thick of the conversation.\u003c/p>\n\u003cp>The award-winning poet, gallerist and people magnet — who published under a single moniker, Alta — kicked down the door to the predominately male preserve of publishing in the early 1970s. With a keen eye for talent, she ushered some of the most consequential women writers of that turbulent era onto the literary scene.\u003c/p>\n\u003cp>She died March 10 at the age of 81, at home in Oakland, after a long struggle with cancer.\u003c/p>\n\u003cfigure id=\"attachment_13954752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg\" alt=\"\" width=\"1920\" height=\"1707\" class=\"size-full wp-image-13954752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-768x683.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1536x1366.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in the 1970s. Photographer unknown. \u003ccite>(Courtesy Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many women who joined the feminist movement’s second wave in the late 1960s, Alta had been active in the civil rights movement. After realizing that she and her peers couldn’t get their work published, she launched \u003ca href=\"https://library.ucsc.edu/reg-hist/alta\">the nation’s first feminist press\u003c/a> in 1969, Shameless Hussy Press.\u003c/p>\n\u003cp>The ribald name signaled both Alta’s irreverent sensibility and her openness to writers who were sidelined and ignored by mainstream publishing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had been reading Anaïs Nin’s diaries, and I knew that she and Henry Miller had made books on a letterpress,” she told Irene Reti in an interview for an essay about Shameless Hussy Press for the UC Santa Cruz University Library, which holds the \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/tf396nb2dv/admin/\">Shameless Hussy archives\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954751\" class=\"wp-caption aligncenter\" style=\"max-width: 1211px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg\" alt=\"\" width=\"1211\" height=\"1920\" class=\"size-full wp-image-13954751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg 1211w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-800x1268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-1020x1617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-160x254.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-768x1218.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-969x1536.jpg 969w\" sizes=\"(max-width: 1211px) 100vw, 1211px\">\u003cfigcaption class=\"wp-caption-text\">Alta’s 1980 anthology, ‘The Shameless Hussy: Selected Stories, Essays and Poetry.’ \u003ccite>(Crossing Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shameless Hussy was the first to publish Ntozake Shange’s \u003cem>for colored girls who have considered suicide / when the rainbow is enuf\u003c/em>, which went on to become a Tony-winning Broadway play. It introduced Mitsuye Yamada, whose \u003cem>Camp Notes and Other Poems\u003c/em> were written during and after her experience in Minidoka, the internment camp in Hunt, Idaho. Shameless Hussy was also the first to publish work by Pat Parker, Susan Griffin, and Mary Mackey.\u003c/p>\n\u003cp>Mackey credits Alta with launching a career that now includes \u003cem>New York Times\u003c/em> best-selling novels and eight volumes of poetry. Even with Fred Cody serving as her agent, Mackey couldn’t find a publisher for her first novel, 1972’s \u003cem>Immersion\u003c/em>, a roman à clef about “a woman looking for her own personal and sexual liberation in the jungles of Costa Rica,” Mackey said. \u003c/p>\n\u003cp>“Alta looked at it and said, ‘I’m going to print it.’ She had the ability to look at a piece of work and not care who you knew, what class you were, or how you identified. She could see things in the work itself,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13954743\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg\" alt=\"\" width=\"1920\" height=\"1276\" class=\"size-full wp-image-13954743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1536x1021.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta, holding court in 1988. \u003ccite>(Harold Parrish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Susan Griffin was part of an Oakland women’s group with Alta and had faced multiple rejections from mainstream publishing houses when Shameless Hussy published her books \u003cem>The Sink: Six Short Stories\u003c/em> and \u003cem>dear sky\u003c/em>, a collection of poems. Part of the book deal involved working with Alta’s AB Dick 360 offset press, which she moved to San Lorenzo after receiving multiple death threats from people offended by work she had published.\u003c/p>\n\u003cp>“You would come out to San Lorenzo and help a couple of days in the printing process,” Griffin recalled. “She was a bit wacky, mostly in a great way, but sometimes not. Alta was just one of the most courageous people I knew. She was very very honest, unless she was on purpose not being honest. She would tell you about anything, say anything, or do anything she thought was right. That made her very effective regarding social change.”\u003c/p>\n\u003cp>By the mid 1970s, Alta had returned to Oakland, where she continued printing batches of groundbreaking poetry, essays and novels until 1989. The press’s biggest money maker was \u003cem>Calamity Jane’s Letters to her Daughter\u003c/em>, a collection of uncertain provenance that got increased attention in 2016 when actor Ethan Hawke listed it as one of the best books he’d recently read. (Alta quickly printed up a batch of new copies.)\u003c/p>\n\u003cfigure id=\"attachment_13954757\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg\" alt=\"\" width=\"1920\" height=\"1492\" class=\"size-full wp-image-13954757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1536x1194.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shameless Hussy Press titles included ‘Calamity Jane’s Letters to Her Daughter’ and Ntozake Shange’s ‘for colored girls who have considered suicide / when the rainbow is enuf.’ \u003ccite>(Shameless Hussy Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running her own press gave Alta tremendous freedom, but it wasn’t a one-woman show.\u003c/p>\n\u003cp>“Everybody was part of the operation,” said her daughter Kia Simon, an independent video editor who sometimes works for KQED. “In elementary school we were making 10 cents an hour to fold books. It was a family business. My stepdad was pumping gas at a service station when they met, and he moved in with us. He was very focused on distribution, and the press actually paid for itself for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13954747\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13954747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in Oakland, in 2010. \u003ccite>(Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1942 in Reno, Nevada, Alta was 12 when her family moved to Berkeley so that her brother could attend the California School for the Blind. In the early 1960s, she dropped out of UC Berkeley to teach in the South. After the end of her first marriage to Danny Bosserman, she became caught up in the Bay Area’s literary ferment.\u003c/p>\n\u003cp>When her partnership with poet and noted Spanish-language translator John Oliver Simon ended in 1970, she founded a commune in Oakland for women seeking refuge from abusive relationships, which she wrote about enduring herself. Her second marriage to Daniel “Angel” Skarry in the early 1970s ended in divorce a decade later.\u003c/p>\n\u003cp>Alta’s 1980 book \u003ci>The Shameless Hussy: Selected Stories, Essays and Poetry\u003c/i> won a Before Columbus Foundation American Book Award. Other volumes include 1990’s \u003ci>Traveling Tales: Flings I’ve Flung in Foreign Parts\u003c/i> and 2015’s \u003ci>Another Moment: Living Well with a Dread Disease and Everything That Grows Can Also Shrink\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13954750\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13954750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Alta in early 2024. \u003ccite>(Pam Strayer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Always looking to stay in the mix culturally, she opened Alta Galleria in Berkeley’s Elmwood neighborhood in 2006, representing local artists and artists from China. She was forced to close the gallery due to the financial straits of the 2008 recession. \u003c/p>\n\u003cp>Misdiagnosed with multiple sclerosis, Alta spent many years studying healing and diet while contending with increasingly limited mobility. She was a regular presence in her Temescal neighborhood, hanging out for hours with other writers, academics and artists at Pizzaiolo, where she always had a copy of the \u003cem>Financial Times\u003c/em> and never seemed to pick up a check.\u003c/p>\n\u003cp>“Alta had a superpower for eating for free at restaurants,” Simon said. “There are a bunch of places where she wouldn’t get a bill, and Pizzaiolo was one of them.”\u003c/p>\n\u003cp>Alta is survived by her daughters Lorelei Bosserman of Oakland and Kia Simon of San Francisco, as well as her granddaughter Tesla Rose Moyer. A memorial will be held at noon on April 21 at Chapel of the Chimes in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shameless Hussy \u003c/strong>\u003c/p>\n\u003cp>\u003cem>i am one of the true hussies;\u003cbr>\ni have no shame;\u003cbr>\ni was a housewife, and\u003cbr>\nstretched from the housiness of it (hus)\u003cbr>\nand the wifiness of (wif/hus-wif) to\u003cbr>\na woman who cant bear wifedom (hussy) / i\u003cbr>\ngrew beyond the house, like alice after eating\u003cbr>\ntoo many cookies. exactly what i did; i ate\u003cbr>\ntoo many cookies; lovers, poetry, moving my\u003cbr>\nbody in a new way, an old way, the way women\u003cbr>\nlike me have always moved, largely; with great\u003cbr>\nmotions beyond our allotted sphere, with more\u003cbr>\nneed than fear, and more grace than shame.[1]\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>—By Alta\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954753\" class=\"wp-caption aligncenter\" style=\"max-width: 1533px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg\" alt=\"A young woman with a short bob haircut stands in a collared shirt and pants at a large metal printing press in a cluttered room.\" width=\"1533\" height=\"1920\" class=\"size-full wp-image-13954753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing.jpg 1533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Paul-Steinbrink_1972_printing-1226x1536.jpg 1226w\" sizes=\"(max-width: 1533px) 100vw, 1533px\">\u003cfigcaption class=\"wp-caption-text\">Alta at her printing press, circa 1972. Founded in 1969, Shameless Hussy Press was first to publish the work of Ntozake Shange and others, and is recognized as the first feminist press in the United States. \u003ccite>(Paul Steinbrink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alta Gerrey loved being in the thick of the conversation.\u003c/p>\n\u003cp>The award-winning poet, gallerist and people magnet — who published under a single moniker, Alta — kicked down the door to the predominately male preserve of publishing in the early 1970s. With a keen eye for talent, she ushered some of the most consequential women writers of that turbulent era onto the literary scene.\u003c/p>\n\u003cp>She died March 10 at the age of 81, at home in Oakland, after a long struggle with cancer.\u003c/p>\n\u003cfigure id=\"attachment_13954752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg\" alt=\"\" width=\"1920\" height=\"1707\" class=\"size-full wp-image-13954752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-768x683.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta-70s_unknown-1536x1366.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in the 1970s. Photographer unknown. \u003ccite>(Courtesy Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many women who joined the feminist movement’s second wave in the late 1960s, Alta had been active in the civil rights movement. After realizing that she and her peers couldn’t get their work published, she launched \u003ca href=\"https://library.ucsc.edu/reg-hist/alta\">the nation’s first feminist press\u003c/a> in 1969, Shameless Hussy Press.\u003c/p>\n\u003cp>The ribald name signaled both Alta’s irreverent sensibility and her openness to writers who were sidelined and ignored by mainstream publishing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had been reading Anaïs Nin’s diaries, and I knew that she and Henry Miller had made books on a letterpress,” she told Irene Reti in an interview for an essay about Shameless Hussy Press for the UC Santa Cruz University Library, which holds the \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/tf396nb2dv/admin/\">Shameless Hussy archives\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954751\" class=\"wp-caption aligncenter\" style=\"max-width: 1211px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg\" alt=\"\" width=\"1211\" height=\"1920\" class=\"size-full wp-image-13954751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover.jpg 1211w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-800x1268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-1020x1617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-160x254.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-768x1218.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_shameless-hussy-cover-969x1536.jpg 969w\" sizes=\"(max-width: 1211px) 100vw, 1211px\">\u003cfigcaption class=\"wp-caption-text\">Alta’s 1980 anthology, ‘The Shameless Hussy: Selected Stories, Essays and Poetry.’ \u003ccite>(Crossing Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shameless Hussy was the first to publish Ntozake Shange’s \u003cem>for colored girls who have considered suicide / when the rainbow is enuf\u003c/em>, which went on to become a Tony-winning Broadway play. It introduced Mitsuye Yamada, whose \u003cem>Camp Notes and Other Poems\u003c/em> were written during and after her experience in Minidoka, the internment camp in Hunt, Idaho. Shameless Hussy was also the first to publish work by Pat Parker, Susan Griffin, and Mary Mackey.\u003c/p>\n\u003cp>Mackey credits Alta with launching a career that now includes \u003cem>New York Times\u003c/em> best-selling novels and eight volumes of poetry. Even with Fred Cody serving as her agent, Mackey couldn’t find a publisher for her first novel, 1972’s \u003cem>Immersion\u003c/em>, a roman à clef about “a woman looking for her own personal and sexual liberation in the jungles of Costa Rica,” Mackey said. \u003c/p>\n\u003cp>“Alta looked at it and said, ‘I’m going to print it.’ She had the ability to look at a piece of work and not care who you knew, what class you were, or how you identified. She could see things in the work itself,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13954743\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg\" alt=\"\" width=\"1920\" height=\"1276\" class=\"size-full wp-image-13954743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/alta_1988_Harold-Parrish_gesture-1536x1021.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta, holding court in 1988. \u003ccite>(Harold Parrish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Susan Griffin was part of an Oakland women’s group with Alta and had faced multiple rejections from mainstream publishing houses when Shameless Hussy published her books \u003cem>The Sink: Six Short Stories\u003c/em> and \u003cem>dear sky\u003c/em>, a collection of poems. Part of the book deal involved working with Alta’s AB Dick 360 offset press, which she moved to San Lorenzo after receiving multiple death threats from people offended by work she had published.\u003c/p>\n\u003cp>“You would come out to San Lorenzo and help a couple of days in the printing process,” Griffin recalled. “She was a bit wacky, mostly in a great way, but sometimes not. Alta was just one of the most courageous people I knew. She was very very honest, unless she was on purpose not being honest. She would tell you about anything, say anything, or do anything she thought was right. That made her very effective regarding social change.”\u003c/p>\n\u003cp>By the mid 1970s, Alta had returned to Oakland, where she continued printing batches of groundbreaking poetry, essays and novels until 1989. The press’s biggest money maker was \u003cem>Calamity Jane’s Letters to her Daughter\u003c/em>, a collection of uncertain provenance that got increased attention in 2016 when actor Ethan Hawke listed it as one of the best books he’d recently read. (Alta quickly printed up a batch of new copies.)\u003c/p>\n\u003cfigure id=\"attachment_13954757\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg\" alt=\"\" width=\"1920\" height=\"1492\" class=\"size-full wp-image-13954757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/shange-jane-1536x1194.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Shameless Hussy Press titles included ‘Calamity Jane’s Letters to Her Daughter’ and Ntozake Shange’s ‘for colored girls who have considered suicide / when the rainbow is enuf.’ \u003ccite>(Shameless Hussy Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running her own press gave Alta tremendous freedom, but it wasn’t a one-woman show.\u003c/p>\n\u003cp>“Everybody was part of the operation,” said her daughter Kia Simon, an independent video editor who sometimes works for KQED. “In elementary school we were making 10 cents an hour to fold books. It was a family business. My stepdad was pumping gas at a service station when they met, and he moved in with us. He was very focused on distribution, and the press actually paid for itself for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13954747\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13954747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Kia-Simon_2010_Oakland-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alta in Oakland, in 2010. \u003ccite>(Kia Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1942 in Reno, Nevada, Alta was 12 when her family moved to Berkeley so that her brother could attend the California School for the Blind. In the early 1960s, she dropped out of UC Berkeley to teach in the South. After the end of her first marriage to Danny Bosserman, she became caught up in the Bay Area’s literary ferment.\u003c/p>\n\u003cp>When her partnership with poet and noted Spanish-language translator John Oliver Simon ended in 1970, she founded a commune in Oakland for women seeking refuge from abusive relationships, which she wrote about enduring herself. Her second marriage to Daniel “Angel” Skarry in the early 1970s ended in divorce a decade later.\u003c/p>\n\u003cp>Alta’s 1980 book \u003ci>The Shameless Hussy: Selected Stories, Essays and Poetry\u003c/i> won a Before Columbus Foundation American Book Award. Other volumes include 1990’s \u003ci>Traveling Tales: Flings I’ve Flung in Foreign Parts\u003c/i> and 2015’s \u003ci>Another Moment: Living Well with a Dread Disease and Everything That Grows Can Also Shrink\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13954750\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13954750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Alta_Pam-Strayer_2024-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Alta in early 2024. \u003ccite>(Pam Strayer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Always looking to stay in the mix culturally, she opened Alta Galleria in Berkeley’s Elmwood neighborhood in 2006, representing local artists and artists from China. She was forced to close the gallery due to the financial straits of the 2008 recession. \u003c/p>\n\u003cp>Misdiagnosed with multiple sclerosis, Alta spent many years studying healing and diet while contending with increasingly limited mobility. She was a regular presence in her Temescal neighborhood, hanging out for hours with other writers, academics and artists at Pizzaiolo, where she always had a copy of the \u003cem>Financial Times\u003c/em> and never seemed to pick up a check.\u003c/p>\n\u003cp>“Alta had a superpower for eating for free at restaurants,” Simon said. “There are a bunch of places where she wouldn’t get a bill, and Pizzaiolo was one of them.”\u003c/p>\n\u003cp>Alta is survived by her daughters Lorelei Bosserman of Oakland and Kia Simon of San Francisco, as well as her granddaughter Tesla Rose Moyer. A memorial will be held at noon on April 21 at Chapel of the Chimes in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shameless Hussy \u003c/strong>\u003c/p>\n\u003cp>\u003cem>i am one of the true hussies;\u003cbr>\ni have no shame;\u003cbr>\ni was a housewife, and\u003cbr>\nstretched from the housiness of it (hus)\u003cbr>\nand the wifiness of (wif/hus-wif) to\u003cbr>\na woman who cant bear wifedom (hussy) / i\u003cbr>\ngrew beyond the house, like alice after eating\u003cbr>\ntoo many cookies. exactly what i did; i ate\u003cbr>\ntoo many cookies; lovers, poetry, moving my\u003cbr>\nbody in a new way, an old way, the way women\u003cbr>\nlike me have always moved, largely; with great\u003cbr>\nmotions beyond our allotted sphere, with more\u003cbr>\nneed than fear, and more grace than shame.[1]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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