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"content": "\u003cp>It all started in 1913, with a clinic housed inside an old donkey barn. The improvised medical practice was operated by a nurse so formidable and determined, not only did she provide all of the equipment needed to make the clinic functional, she worked without pay until it had sufficient donations to survive.\u003c/p>\n\u003cp>The nurse’s name was Bertha Wright and the clinic was all part of her larger mission to open a hospital dedicated to the care of babies and children in Oakland and Berkeley. Fifteen months after her practice in the barn opened its doors, Bertha’s hard work paid off with the opening of the area’s first children’s hospital — an institution that started in an old mansion, but continues to survive to this day as \u003ca href=\"https://localwiki.org/oakland/Children%27s_Hospital_Oakland\">UCSF’s Benioff Children’s Hospital\u003c/a>. (It was renamed in 2014, after decades as Children’s Hospital Oakland.)\u003c/p>\n\u003cp>[aside postid='arts_13877186']Bertha’s reputation as a dedicated and hardworking nurse was established far earlier than the hospital. Born in Piedmont, the middle child of three, she graduated from the California Women’s Hospital School of Nursing in San Francisco in 1901, at the age of 25. She went on to work both there and at the Nurses’ Settlement House in Potrero Hill, where she served a large population of struggling immigrants. After the 1906 earthquake, Bertha tended to the sick and wounded in refugee camps all over the city.\u003c/p>\n\u003cp>In 1907, as the Bay Area struggled to rebuild after the 1906 earthquake and subsequent fires, community groups and a variety of charities banded together to form the Charitable Organization Society of Berkeley. Wright was appointed Home Secretary and, while serving in that role, helped to establish the Berkeley Day Nursery, the first organization of its kind in California to offer subsidized childcare.\u003c/p>\n\u003cp>The nursery was funded by the City of Berkeley, the Berkeley Community Chest, the United Crusade, public donations and sliding scale payments from parents. Prior to the nursery opening, working women were forced to leave their children at local orphan asylums while they did their jobs. The nursery continued caring for local children until 1965.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1910, Bertha also became the first district nurse to serve underprivileged children in Alameda County. In her mission to get care to the needy by any means necessary, she went on to co-found the Public Health Nurses’ Association of Alameda County and also taught public health nursing at UC Berkeley. In her role as a visiting nurse, Bertha is said to have journeyed to hundreds of homes a week on her trusty horse and buggy. It was during these visits that Bertha became aware of the overwhelming need for hospital services that were dedicated specifically to the needs of children.\u003c/p>\n\u003cp>During one 1912 \u003ca href=\"https://berkhistory.org/wp-content/uploads/2022/02/2007_fall_newsletter.pdf\">meeting of the Berkeley Commission of Public Charities\u003c/a>, it was noted that:\u003c/p>\n\u003cblockquote>\u003cp>Ever since Miss Wright has been in Berkeley, she has [believed] that much of her effort has been wasted because of this lack of a proper place for sick children. The need of a hospital for the babies among whom we work is especially urgent because of the crowded home conditions, a certain ignorance on the part of the parents and their limited incomes, reasons which do not exist in the homes of those in more comfortable circumstances.\u003c/p>\u003c/blockquote>\n\u003cp>Wright was determined that children should not suffer due to the financial hardships of their parents. When the Baby Hospital first opened on September 16, 1914, the cost was supposed to be $1 a day for ward beds and $2.50 for private rooms, but fewer than 10 per cent of patients usually paid the full fee — if any fee at all. The hospital was able to stay open only because of a tireless group of local women who relentlessly fundraised at fairs, dinners, fashion shows and in their own communities.\u003c/p>\n\u003cp>[aside postid='arts_13955066']At the time of its opening, the hospital housed a 20-bed ward on the first floor, a 10-bed ward on the second, along with five private rooms. The staff was small: three nurses, a secretary, a cook and a houseboy. Doctors were summoned from other hospitals when their assistance was required.\u003c/p>\n\u003cp>In that first year, the Baby Hospital treated 611 children. That same year, Bertha’s smaller clinic on the property saw more than 6,000 patients. In 1916, the hospital established a dental clinic. But hospital growth happened quickly. Sheer demand forced the hospital to open new wings in 1928 and 1948. By 1945, it was treating 24,500 patients a year.\u003c/p>\n\u003cp>Even before the hospital had opened, Bertha had begun holding prenatal and baby hygiene classes at her clinic. She also helped organize the first “baby saving fairs” on the West Coast. A maternity clinic at the hospital helped to safely deliver newborns. But Bertha’s dedication to children did not stop in her working life.\u003c/p>\n\u003cp>During her time with the Charitable Organization Society, she met social worker Mabel Weed, who was also key in establishing and fundraising for the Baby Hospital. The women first moved in together in the early 1920s, and went on to lovingly raise three adopted children, Philip, Barbara and Jean. They also fostered a great many others. In fact, the 1940 census shows that, when Bertha was 62 and Mabel was 68, they were still fostering children in Palo Alto. Bertha even continued after Mabel’s death in 1957.\u003c/p>\n\u003cp>Bertha passed away in 1971 just one month shy of her 95th birthday, after a lifetime spent in the service of children, women and all those living on the margins. She was buried close to her beloved Mabel in Alto Mesa Cemetery, Palo Alto.\u003c/p>\n\u003cp>[aside postid='arts_13966861']It’s clear from both her work and personal history that Bertha Wright was blessed with an uncommon drive and an unconventional approach to life. She is also said to have been rather imposing. In 1967 book \u003cem>The Hospital Women Built for Children\u003c/em> by Murray Morgan, Bertha is described as: “Tall and rawboned, dedicated and undemure, she could face down a practical objection with a skeptical glance. A Berkeley businessman recalls fondly, ‘She could always make me feel as if I were unbuttoned.’”\u003c/p>\n\u003cp>Perhaps Bertha’s uniqueness can be attributed to what \u003cem>American Nursing: A Biographical Dictionary, Volume 3\u003c/em> describes as “her circle of progressive feminist women friends,” as well as her “bold and adventurous family of eccentrics and inventors. A family that never said ‘What will people think?’”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It all started in 1913, with a clinic housed inside an old donkey barn. The improvised medical practice was operated by a nurse so formidable and determined, not only did she provide all of the equipment needed to make the clinic functional, she worked without pay until it had sufficient donations to survive.\u003c/p>\n\u003cp>The nurse’s name was Bertha Wright and the clinic was all part of her larger mission to open a hospital dedicated to the care of babies and children in Oakland and Berkeley. Fifteen months after her practice in the barn opened its doors, Bertha’s hard work paid off with the opening of the area’s first children’s hospital — an institution that started in an old mansion, but continues to survive to this day as \u003ca href=\"https://localwiki.org/oakland/Children%27s_Hospital_Oakland\">UCSF’s Benioff Children’s Hospital\u003c/a>. (It was renamed in 2014, after decades as Children’s Hospital Oakland.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bertha’s reputation as a dedicated and hardworking nurse was established far earlier than the hospital. Born in Piedmont, the middle child of three, she graduated from the California Women’s Hospital School of Nursing in San Francisco in 1901, at the age of 25. She went on to work both there and at the Nurses’ Settlement House in Potrero Hill, where she served a large population of struggling immigrants. After the 1906 earthquake, Bertha tended to the sick and wounded in refugee camps all over the city.\u003c/p>\n\u003cp>In 1907, as the Bay Area struggled to rebuild after the 1906 earthquake and subsequent fires, community groups and a variety of charities banded together to form the Charitable Organization Society of Berkeley. Wright was appointed Home Secretary and, while serving in that role, helped to establish the Berkeley Day Nursery, the first organization of its kind in California to offer subsidized childcare.\u003c/p>\n\u003cp>The nursery was funded by the City of Berkeley, the Berkeley Community Chest, the United Crusade, public donations and sliding scale payments from parents. Prior to the nursery opening, working women were forced to leave their children at local orphan asylums while they did their jobs. The nursery continued caring for local children until 1965.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1910, Bertha also became the first district nurse to serve underprivileged children in Alameda County. In her mission to get care to the needy by any means necessary, she went on to co-found the Public Health Nurses’ Association of Alameda County and also taught public health nursing at UC Berkeley. In her role as a visiting nurse, Bertha is said to have journeyed to hundreds of homes a week on her trusty horse and buggy. It was during these visits that Bertha became aware of the overwhelming need for hospital services that were dedicated specifically to the needs of children.\u003c/p>\n\u003cp>During one 1912 \u003ca href=\"https://berkhistory.org/wp-content/uploads/2022/02/2007_fall_newsletter.pdf\">meeting of the Berkeley Commission of Public Charities\u003c/a>, it was noted that:\u003c/p>\n\u003cblockquote>\u003cp>Ever since Miss Wright has been in Berkeley, she has [believed] that much of her effort has been wasted because of this lack of a proper place for sick children. The need of a hospital for the babies among whom we work is especially urgent because of the crowded home conditions, a certain ignorance on the part of the parents and their limited incomes, reasons which do not exist in the homes of those in more comfortable circumstances.\u003c/p>\u003c/blockquote>\n\u003cp>Wright was determined that children should not suffer due to the financial hardships of their parents. When the Baby Hospital first opened on September 16, 1914, the cost was supposed to be $1 a day for ward beds and $2.50 for private rooms, but fewer than 10 per cent of patients usually paid the full fee — if any fee at all. The hospital was able to stay open only because of a tireless group of local women who relentlessly fundraised at fairs, dinners, fashion shows and in their own communities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the time of its opening, the hospital housed a 20-bed ward on the first floor, a 10-bed ward on the second, along with five private rooms. The staff was small: three nurses, a secretary, a cook and a houseboy. Doctors were summoned from other hospitals when their assistance was required.\u003c/p>\n\u003cp>In that first year, the Baby Hospital treated 611 children. That same year, Bertha’s smaller clinic on the property saw more than 6,000 patients. In 1916, the hospital established a dental clinic. But hospital growth happened quickly. Sheer demand forced the hospital to open new wings in 1928 and 1948. By 1945, it was treating 24,500 patients a year.\u003c/p>\n\u003cp>Even before the hospital had opened, Bertha had begun holding prenatal and baby hygiene classes at her clinic. She also helped organize the first “baby saving fairs” on the West Coast. A maternity clinic at the hospital helped to safely deliver newborns. But Bertha’s dedication to children did not stop in her working life.\u003c/p>\n\u003cp>During her time with the Charitable Organization Society, she met social worker Mabel Weed, who was also key in establishing and fundraising for the Baby Hospital. The women first moved in together in the early 1920s, and went on to lovingly raise three adopted children, Philip, Barbara and Jean. They also fostered a great many others. In fact, the 1940 census shows that, when Bertha was 62 and Mabel was 68, they were still fostering children in Palo Alto. Bertha even continued after Mabel’s death in 1957.\u003c/p>\n\u003cp>Bertha passed away in 1971 just one month shy of her 95th birthday, after a lifetime spent in the service of children, women and all those living on the margins. She was buried close to her beloved Mabel in Alto Mesa Cemetery, Palo Alto.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s clear from both her work and personal history that Bertha Wright was blessed with an uncommon drive and an unconventional approach to life. She is also said to have been rather imposing. In 1967 book \u003cem>The Hospital Women Built for Children\u003c/em> by Murray Morgan, Bertha is described as: “Tall and rawboned, dedicated and undemure, she could face down a practical objection with a skeptical glance. A Berkeley businessman recalls fondly, ‘She could always make me feel as if I were unbuttoned.’”\u003c/p>\n\u003cp>Perhaps Bertha’s uniqueness can be attributed to what \u003cem>American Nursing: A Biographical Dictionary, Volume 3\u003c/em> describes as “her circle of progressive feminist women friends,” as well as her “bold and adventurous family of eccentrics and inventors. A family that never said ‘What will people think?’”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Oakland, Plunging Hotel Tax Revenue Threatens to Gut Arts Funding",
"headTitle": "In Oakland, Plunging Hotel Tax Revenue Threatens to Gut Arts Funding | KQED",
"content": "\u003cp>In 2009, Oakland voters passed a ballot measure to increase arts funding as part of the city’s economic recovery from the Great Recession. [aside postID=arts_13878335,arts_13861153,arts_13873207]\u003c/p>\n\u003cp>Measure C raised the city’s hotel tax from 11 percent to 14 percent, with the added revenue supporting Oakland’s Cultural Funding Program, tourism agency Visit Oakland, festivals such as Art + Soul, and organizations including the Oakland Museum of California (OMCA) and Chabot Space and Science Center.\u003c/p>\n\u003cp>In the decade since, annual hotel tax revenue has more than tripled, reaching $33 million in 2019. Last year, roughly a third of the $1.2 million that Oakland granted to artists and small arts nonprofits derived from hotel taxes, and Oakland Museum of California received nearly $1 million from the fund.\u003c/p>\n\u003cp>Still, the benefits have been modest, outstripped by rising housing costs. Oakland arts figures have in recent years agitated elected officials for additional funding with mixed success—securing one time boosts only to see them dropped from subsequent budgets or diverted to other uses. \u003c/p>\n\u003cp>Now, a new economic crisis is erasing the limited gains and threatening to plunge public art support to historic lows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With the current shelter-in-place orders, Bay Area hotel occupancy rates have plummeted to below 20 percent, and in some cities, rates are in the single digits. Oakland’s budget director projects hotel tax revenue falling by $9 million to $18.01 million this fiscal year alone—part of a potential $80 million budget shortfall over the next 14 months.\u003c/p>\n\u003cp>“The size and scale of these revenue shortfalls is like nothing Oakland has ever before experienced,” reads the \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=4420613&GUID=6DAD55FD-A354-4DE0-A6C0-E376CE95DDE2&Options=&Search=\">finance report\u003c/a> received by Oakland City Council on Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13875808\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg\" alt=\"The creation and erasure of a mural catalyzes an anti-gentrification coalition in 'Alice Street.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The creation and erasure of a mural catalyzes an anti-gentrification coalition in ‘Alice Street.’ \u003ccite>(Zoe Mountain/Courtesy of filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Museum of California, the city’s largest cultural organization, has for the past two years relied on hotel tax allocation for approximately $70,000 per month in operations support.\u003c/p>\n\u003cp>“We’re anticipating that goes away completely for the foreseeable future,” Lori Fogarty, director of the museum, said in an interview. “That’s absolutely one of our biggest hits.”\u003c/p>\n\u003cp>The impact follows the cancellation of the museum’s annual gala March 14, which aimed to raise $350,000 (many supporters donated regardless), and comes atop the ongoing losses from ticket sales and programming. OMCA expects to lose $1.5 million through the summer.\u003c/p>\n\u003cp>The museum recently \u003ca href=\"https://www.kqed.org/arts/13878335/oakland-museum-of-california-announces-hours-reductions-affecting-106-workers\">reduced the hours\u003c/a> of 106 full-time employees, a measure meant to avoid layoffs. Only with the help of a federal loan was the museum able to temporarily restore them.\u003c/p>\n\u003cp>Fogarty noted the $2.5 million \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> in San Francisco, saying Oakland arts leaders could better organize to advocate for emergency relief from local government. But municipal budget crises tend to hasten privatization: The last recession spurred OMCA, for decades run by the City of Oakland, to reform as an independent nonprofit in 2011.\u003c/p>\n\u003cp>“There’s some parallels,” she said. “We were facing a decrease in funding then. But this is even more abrupt and far-reaching—I don’t know if there’s been a comparable moment.”\u003c/p>\n\u003cfigure id=\"attachment_13878341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/OMCA-courtesy-OMCA.jpg\" alt=\"Plunging hotel tax revenue threatens an important funding source for the Oakland Museum of California.\" width=\"1920\" height=\"1116\" class=\"size-full wp-image-13878341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-1020x593.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Plunging hotel tax revenue threatens an important funding source for the Oakland Museum of California. \u003ccite>(Courtesy OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roberto Bedoya, Oakland’s cultural affairs manager, said in a statement that the effects of city finances on his department will become clear in the coming months as officials reassess the budget.\u003c/p>\n\u003cp>The Cultural Funding Program (CFP) regularly supports performing arts organizations such as Oakland Ballet, Lower Bottom Playaz and Ubuntu Theater; murals by Community Rejuvenation Project and Attitudinal Healing Connection; and has funded projects by metalworker \u003ca href=\"https://www.kqed.org/arts/13873207/the-hustle-karen-smith-metalsmith-oakland\">Karen Smith\u003c/a>, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities\">Alice Street\u003c/a>\u003c/em> director Spencer Wilkinson and \u003cem>There, There\u003c/em> author Tommy Orange.\u003c/p>\n\u003cp>In 2018 the cultural affairs unit published Oakland’s first \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">Cultural Plan\u003c/a> in decades, detailing proposals to alleviate cost-of-living pressures on local artists and sustain community identity. Recently staff also worked to revive Oakland’s long-dormant \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">Cultural Commission\u003c/a>. But the unit has struggled to win additional funding above and beyond its hotel tax allocation to enact most of its policy goals.\u003c/p>\n\u003cp>Even assuming a continuing uptick in hotel tax revenue, the CFP’s grant-making budget was poised to \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">shrink\u003c/a> this year as a one-time boost from the 2017 budget cycle lapses.\u003c/p>\n\u003cp>And there’s recent precedent for officials raiding arts funds: $100,000 set aside for murals in 2017 disappeared before it could be spent, Bedoya said at a committee hearing earlier this year, due to anticipated revenue shortfalls after council members voted to reduce cannabis taxes.\u003c/p>\n\u003cp>Eric Arnold, Community Rejuvenation Project spokesperson and a longtime observer of Oakland’s equity and culture initiatives, believes the CFP’s few gains since the recession are in serious jeopardy—especially without a grassroots campaign to advocate for the program.\u003c/p>\n\u003cp>“The one-time increases for arts funding that we have seen came directly from community pressure,” Arnold said. “Right now, who’s even organized to make a budget request?”\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg\" alt=\"A panel of the disappearing "Universal Language" mural, showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"1920\" height=\"1155\" class=\"size-full wp-image-13861187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A panel of the disappearing “Universal Language” mural, showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Arts Commission and related entity Grants for the Arts also expect hotel tax funding for cultural programs—significantly boosted by the 2018 passage of \u003ca href=\"https://www.kqed.org/news/11702680/proposition-e-seeks-to-restore-s-f-s-arts-and-culture-funding-clout\">Proposition E\u003c/a>—to dwindle as city finance officials \u003ca href=\"https://www.documentcloud.org/documents/6821861-March-Joint-Report-Memo-ACTIVE.html\">project\u003c/a> staggering losses of up to $288 million this fiscal year.\u003c/p>\n\u003cp>But San Francisco has more diversified revenue sources for its arts support, and Proposition E actually limits the losses to the Hotel Tax for the Arts fund. Hence, allocations to the fund are expected to only decline by $4.6 million to $28.8 million, according to a March 31 finance report.\u003c/p>\n\u003cp>Brent Miller, co-founder of Center for New Music, a San Francisco venue supported by Grants for the Arts, expects the grant-maker’s reserves to delay the effects on small nonprofits. For now, he’s more concerned about missing rental income that normally subsidizes programming.\u003c/p>\n\u003cp>“I’m hearing Grants for the Arts funding next year is kind of set in stone,” said Miller. “We’re really going to see the impact of that the following year, and then I don’t know what we’ll do.”\u003c/p>\n\u003cp>Arts funders at the state level are also shuddering. At a livestreamed California Arts Council meeting on April 1, commissioners debated relief measures, such as loosening grant restrictions to let organizations cover immediate payroll and rent costs with awards meant for specific projects.\u003c/p>\n\u003cp>The council’s grant-making budget has multiplied in recent years, totaling $35 million in 2020. But when talk turned to the council’s financial outlook, commissioners seemed to brace for cuts.\u003c/p>\n\u003cp>Ayanna Kiburi, the council’s deputy director, showed doubts about additional funding for cultural districts included in Governor Gavin Newsom’s budget proposal from this past January. “That probably won’t—we don’t know what’s going to happen,” Kiburi said.\u003c/p>\n\u003cp>The state funder is in turn awaiting federal support. The $2 trillion federal aid package approved last month includes $75 million each for the national endowments for the humanities and the arts, with 40 percent reserved for state partners such as California Arts Council.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But the money remains in limbo. Nashormeh Lindo, a council member based in Oakland, said the “amount, timing and mechanism” of the additional national endowment funding is unknown.\u003c/p>\n\n",
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"excerpt": "A new economic crisis jeopardizes Oakland arts funding’s limited gains of the past decade.",
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"title": "In Oakland, Plunging Hotel Tax Revenue Threatens to Gut Arts Funding | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2009, Oakland voters passed a ballot measure to increase arts funding as part of the city’s economic recovery from the Great Recession. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Measure C raised the city’s hotel tax from 11 percent to 14 percent, with the added revenue supporting Oakland’s Cultural Funding Program, tourism agency Visit Oakland, festivals such as Art + Soul, and organizations including the Oakland Museum of California (OMCA) and Chabot Space and Science Center.\u003c/p>\n\u003cp>In the decade since, annual hotel tax revenue has more than tripled, reaching $33 million in 2019. Last year, roughly a third of the $1.2 million that Oakland granted to artists and small arts nonprofits derived from hotel taxes, and Oakland Museum of California received nearly $1 million from the fund.\u003c/p>\n\u003cp>Still, the benefits have been modest, outstripped by rising housing costs. Oakland arts figures have in recent years agitated elected officials for additional funding with mixed success—securing one time boosts only to see them dropped from subsequent budgets or diverted to other uses. \u003c/p>\n\u003cp>Now, a new economic crisis is erasing the limited gains and threatening to plunge public art support to historic lows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With the current shelter-in-place orders, Bay Area hotel occupancy rates have plummeted to below 20 percent, and in some cities, rates are in the single digits. Oakland’s budget director projects hotel tax revenue falling by $9 million to $18.01 million this fiscal year alone—part of a potential $80 million budget shortfall over the next 14 months.\u003c/p>\n\u003cp>“The size and scale of these revenue shortfalls is like nothing Oakland has ever before experienced,” reads the \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=4420613&GUID=6DAD55FD-A354-4DE0-A6C0-E376CE95DDE2&Options=&Search=\">finance report\u003c/a> received by Oakland City Council on Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13875808\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg\" alt=\"The creation and erasure of a mural catalyzes an anti-gentrification coalition in 'Alice Street.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The creation and erasure of a mural catalyzes an anti-gentrification coalition in ‘Alice Street.’ \u003ccite>(Zoe Mountain/Courtesy of filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Museum of California, the city’s largest cultural organization, has for the past two years relied on hotel tax allocation for approximately $70,000 per month in operations support.\u003c/p>\n\u003cp>“We’re anticipating that goes away completely for the foreseeable future,” Lori Fogarty, director of the museum, said in an interview. “That’s absolutely one of our biggest hits.”\u003c/p>\n\u003cp>The impact follows the cancellation of the museum’s annual gala March 14, which aimed to raise $350,000 (many supporters donated regardless), and comes atop the ongoing losses from ticket sales and programming. OMCA expects to lose $1.5 million through the summer.\u003c/p>\n\u003cp>The museum recently \u003ca href=\"https://www.kqed.org/arts/13878335/oakland-museum-of-california-announces-hours-reductions-affecting-106-workers\">reduced the hours\u003c/a> of 106 full-time employees, a measure meant to avoid layoffs. Only with the help of a federal loan was the museum able to temporarily restore them.\u003c/p>\n\u003cp>Fogarty noted the $2.5 million \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> in San Francisco, saying Oakland arts leaders could better organize to advocate for emergency relief from local government. But municipal budget crises tend to hasten privatization: The last recession spurred OMCA, for decades run by the City of Oakland, to reform as an independent nonprofit in 2011.\u003c/p>\n\u003cp>“There’s some parallels,” she said. “We were facing a decrease in funding then. But this is even more abrupt and far-reaching—I don’t know if there’s been a comparable moment.”\u003c/p>\n\u003cfigure id=\"attachment_13878341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/OMCA-courtesy-OMCA.jpg\" alt=\"Plunging hotel tax revenue threatens an important funding source for the Oakland Museum of California.\" width=\"1920\" height=\"1116\" class=\"size-full wp-image-13878341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-1020x593.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Plunging hotel tax revenue threatens an important funding source for the Oakland Museum of California. \u003ccite>(Courtesy OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roberto Bedoya, Oakland’s cultural affairs manager, said in a statement that the effects of city finances on his department will become clear in the coming months as officials reassess the budget.\u003c/p>\n\u003cp>The Cultural Funding Program (CFP) regularly supports performing arts organizations such as Oakland Ballet, Lower Bottom Playaz and Ubuntu Theater; murals by Community Rejuvenation Project and Attitudinal Healing Connection; and has funded projects by metalworker \u003ca href=\"https://www.kqed.org/arts/13873207/the-hustle-karen-smith-metalsmith-oakland\">Karen Smith\u003c/a>, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities\">Alice Street\u003c/a>\u003c/em> director Spencer Wilkinson and \u003cem>There, There\u003c/em> author Tommy Orange.\u003c/p>\n\u003cp>In 2018 the cultural affairs unit published Oakland’s first \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">Cultural Plan\u003c/a> in decades, detailing proposals to alleviate cost-of-living pressures on local artists and sustain community identity. Recently staff also worked to revive Oakland’s long-dormant \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">Cultural Commission\u003c/a>. But the unit has struggled to win additional funding above and beyond its hotel tax allocation to enact most of its policy goals.\u003c/p>\n\u003cp>Even assuming a continuing uptick in hotel tax revenue, the CFP’s grant-making budget was poised to \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">shrink\u003c/a> this year as a one-time boost from the 2017 budget cycle lapses.\u003c/p>\n\u003cp>And there’s recent precedent for officials raiding arts funds: $100,000 set aside for murals in 2017 disappeared before it could be spent, Bedoya said at a committee hearing earlier this year, due to anticipated revenue shortfalls after council members voted to reduce cannabis taxes.\u003c/p>\n\u003cp>Eric Arnold, Community Rejuvenation Project spokesperson and a longtime observer of Oakland’s equity and culture initiatives, believes the CFP’s few gains since the recession are in serious jeopardy—especially without a grassroots campaign to advocate for the program.\u003c/p>\n\u003cp>“The one-time increases for arts funding that we have seen came directly from community pressure,” Arnold said. “Right now, who’s even organized to make a budget request?”\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg\" alt=\"A panel of the disappearing "Universal Language" mural, showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"1920\" height=\"1155\" class=\"size-full wp-image-13861187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A panel of the disappearing “Universal Language” mural, showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Arts Commission and related entity Grants for the Arts also expect hotel tax funding for cultural programs—significantly boosted by the 2018 passage of \u003ca href=\"https://www.kqed.org/news/11702680/proposition-e-seeks-to-restore-s-f-s-arts-and-culture-funding-clout\">Proposition E\u003c/a>—to dwindle as city finance officials \u003ca href=\"https://www.documentcloud.org/documents/6821861-March-Joint-Report-Memo-ACTIVE.html\">project\u003c/a> staggering losses of up to $288 million this fiscal year.\u003c/p>\n\u003cp>But San Francisco has more diversified revenue sources for its arts support, and Proposition E actually limits the losses to the Hotel Tax for the Arts fund. Hence, allocations to the fund are expected to only decline by $4.6 million to $28.8 million, according to a March 31 finance report.\u003c/p>\n\u003cp>Brent Miller, co-founder of Center for New Music, a San Francisco venue supported by Grants for the Arts, expects the grant-maker’s reserves to delay the effects on small nonprofits. For now, he’s more concerned about missing rental income that normally subsidizes programming.\u003c/p>\n\u003cp>“I’m hearing Grants for the Arts funding next year is kind of set in stone,” said Miller. “We’re really going to see the impact of that the following year, and then I don’t know what we’ll do.”\u003c/p>\n\u003cp>Arts funders at the state level are also shuddering. At a livestreamed California Arts Council meeting on April 1, commissioners debated relief measures, such as loosening grant restrictions to let organizations cover immediate payroll and rent costs with awards meant for specific projects.\u003c/p>\n\u003cp>The council’s grant-making budget has multiplied in recent years, totaling $35 million in 2020. But when talk turned to the council’s financial outlook, commissioners seemed to brace for cuts.\u003c/p>\n\u003cp>Ayanna Kiburi, the council’s deputy director, showed doubts about additional funding for cultural districts included in Governor Gavin Newsom’s budget proposal from this past January. “That probably won’t—we don’t know what’s going to happen,” Kiburi said.\u003c/p>\n\u003cp>The state funder is in turn awaiting federal support. The $2 trillion federal aid package approved last month includes $75 million each for the national endowments for the humanities and the arts, with 40 percent reserved for state partners such as California Arts Council.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the money remains in limbo. Nashormeh Lindo, a council member based in Oakland, said the “amount, timing and mechanism” of the additional national endowment funding is unknown.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Year's High School Seniors Are a Class of Their Own",
"headTitle": "This Year’s High School Seniors Are a Class of Their Own | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s this photo on my wall where I’m holding my niece. She’s in a white dress, precious. She’s three, my daughter’s current age. At the time of the picture, I was my niece’s current age: 17.\u003c/p>\n\u003cp>I’m in a cap and gown, celebrating my high school graduation.\u003c/p>\n\u003cp>My niece, Talyah, will never have a photo like that, and no ceremonial experience. Neither will a solid portion of the estimated \u003ca href=\"https://nces.ed.gov/fastfacts/display.asp?id=372\">3.7 million\u003c/a> other graduating high school seniors in America and millions more around the world. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>For my generation of high schoolers, there were a few significant events that tied us together. Most notably, here in America, the terrorist attacks of Sept. 11. Many of us remember exactly where we were when they happened. They played a significant part in shaping the society we stepped into as adults as well as the world we stand in today.\u003c/p>\n\u003cp>One can only imagine how this war on germs, like the War on Terror, will shape the future for all of us, especially the younger folks who walked out of their classrooms and into adulthood months earlier than expected.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One thing is for sure: years from now, my niece will meet someone her age at a bar or cafe, and they’ll have that shared moment of, \u003cem>Damn, so you didn’t have a graduation either?\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll around Oakland, there are young folks who were looking forward to that final celebration, an acknowledgement that they successfully completed their K-12 educations. Students from public schools, continuation schools, arts magnet schools and private schools are all dealing with the grief and confusion that come with experiencing something like this. \u003ca href=\"https://www.kqed.org/news/senioryear\" target=\"_blank\" rel=\"noopener noreferrer\">KQED\u003c/a> is asking seniors from around the Bay Area to submit videos and share their stories, and yesterday our show \u003ca href=\"https://www.kqed.org/forum/2010101877094/california-12th-graders-reflect-on-their-interrupted-senior-year\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Forum\u003c/em>\u003c/a> featured tales from a few students. To contribute to the effort, I got on the phone and called a few folks from Oakland.\u003c/p>\n\u003cp>Jayla D. is a standout player on the Bishop O’Dowd High School softball team. Her junior year stats show that she’s just outside of the top 50 ballers in California, and above the national average in every aspect of the game. But she won’t have a senior year stat line.\u003c/p>\n\u003cp>A career 3.5 GPA student, she’s looking to study kinesiology and get into sports medicine at San Diego State University in the fall. She hopes to walk onto the softball team. Her future is bright, but Jayla D. still says, “I can’t believe this ended like this. I just don’t know how to feel. It’s just hard to see people who’ve worked so hard, and had everything taken away from them—and there’s nothing that can be done about it.”\u003c/p>\n\u003cp>On the other side of town, is another Jayla—Jayla H. A talented drummer (part of the band \u003ca href=\"https://m.soundcloud.com/green-music/sets/the-black-tape\" target=\"_blank\" rel=\"noopener noreferrer\">Black Excellence\u003c/a>) who attended Oakland School for the Arts for middle school and high school.\u003c/p>\n\u003cfigure id=\"attachment_13879034\" class=\"wp-caption alignright\" style=\"max-width: 332px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13879034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Jayla-H.-800x789.png\" alt=\"Jayla H. on the drums\" width=\"332\" height=\"327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H.-800x789.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H.-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H.-768x757.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H..png 1000w\" sizes=\"(max-width: 332px) 100vw, 332px\">\u003cfigcaption class=\"wp-caption-text\">Jayla H. on the drums. \u003ccite>(Jayla H.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s taken the blur of the last few weeks relatively well, spending time reading and \u003ca href=\"https://www.instagram.com/p/B-JCEkdBDDh/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">making music. \u003c/a>And even taking some time to step back from the rat race and learn about herself.\u003c/p>\n\u003cp>“In school, we’re always on the clock,” says Jayla H., referencing the rush from one period to the next. “Now that we’ve got this break, I can focus on doing both [academics and arts] on my own time and in my own space,” she says. “That’s been really helpful.”\u003c/p>\n\u003cp>But when it comes to forgoing ceremonies, Jayla H., who plans on attending the San Francisco Conservatory of Music in the fall, says, “I wanted to have my family and community see what I’ve been working towards. And now, that’s not happening anymore—it’s been heartbreaking.”\u003c/p>\n\u003cp>Another aspiring artist from Oakland is Fremont High School’s Jacob Hicks. This 18-year-old student has been drawing all his life, and now he’s looking to pursue a career in animation graphics.\u003c/p>\n\u003cp>But right now, he’s just getting a handle on this concept of “distance learning.” Hicks says, “People who learn in-person are struggling. … Emailing a teacher and waiting for a response doesn’t always work.”\u003c/p>\n\u003cfigure id=\"attachment_13879070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879070\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-800x796.jpg\" alt=\"Jacob Hicks, future animator\" width=\"800\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-800x796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-1020x1014.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Hicks, future animator. \u003ccite>(Jacob Hicks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hicks, who still plans on attending Berkeley City College in the fall, says he’s learning to navigate all of these changes. “We’re on the verge of graduating and living our lives. … I had everything planned out.” And now just about everything has changed.\u003c/p>\n\u003cp>About four miles up the hill from Fremont High, at the Head-Royce School, 17-year-old Caroline has been talking to her father about everything that’s transpiring. He’s a doctor, and she’s looking to become a pediatrician.\u003c/p>\n\u003cp>She’s planning on attending Case Western in Cleveland, Ohio next fall, but she laments what she’s missing out on this spring.\u003c/p>\n\u003cp>Caroline was one of the leaders of the dance program at her school. They had been working on the Fine Arts Dance Ensemble’s big show since September. “We sacrificed \u003cem>so many\u003c/em> lunches throughout the school year,” Caroline tells me. The show would have happened last week. [aside postid='arts_13876171']\u003c/p>\n\u003cp>Tayland, a senior from Castlemont High, was getting ready to work a shift at KFC when I called him. The 17-year-old is planning on attending Sacramento State University in the fall. He wants to play football and study public health—inspired by a former teacher, experiences in health classes and “issues in the world that need to be fixed.”\u003c/p>\n\u003cp>(Great time to jump into solving problems in the public health field, eh?)\u003c/p>\n\u003cp>On the topic of having a shortened senior year, Tayland told me that not having the opportunity to show your family the person you’re becoming is the worst thing about it. “Especially when you have people who’ve got out of institutions. Or the people you’ve been doing it for. You know, the faces you want to see and show them what you’ve done,” says Tayland. “It’s not a good feeling.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s for my niece, Talyah? She told me it hurts to cancel plans, but maybe it’s something she has to go through for something greater to come along.\u003c/p>\n\u003cp>She’s more bummed about prom than graduation. But over all, she’s not feeling set back. “I’ve always felt like I didn’t need high school. Next year when college starts, I’ll be fine,” says Talyah, a senior at Street Academy who plans on getting into the Peralta College system and focusing on interior design.\u003c/p>\n\u003cfigure id=\"attachment_13879072\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879072\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-800x810.png\" alt=\"Talyah Cole, future interior decorator\" width=\"800\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-800x810.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-160x162.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-768x777.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM.png 824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talyah Cole, future interior decorator. \u003ccite>(Talyah Cole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it comes to be being connected to the larger class of 2020, Talyah says, “Its kind of embarrassing, just to know that we’re the only class that didn’t finish—that can’t finish. It’s not like we can go back—nobody wants to go back to high school.”\u003c/p>\n\u003cp>I asked her about the photo, the one where I’m holding her as a toddler. “I thought about that, and you know, if anything, when May 29 comes around, I’ll buy my own cap and gown and take a selfie.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Seems like a lot of students are taking a bad situation and making the most of it. This final lesson of their high school careers is one that’s going to be useful in life, over and over again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s this photo on my wall where I’m holding my niece. She’s in a white dress, precious. She’s three, my daughter’s current age. At the time of the picture, I was my niece’s current age: 17.\u003c/p>\n\u003cp>I’m in a cap and gown, celebrating my high school graduation.\u003c/p>\n\u003cp>My niece, Talyah, will never have a photo like that, and no ceremonial experience. Neither will a solid portion of the estimated \u003ca href=\"https://nces.ed.gov/fastfacts/display.asp?id=372\">3.7 million\u003c/a> other graduating high school seniors in America and millions more around the world. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>For my generation of high schoolers, there were a few significant events that tied us together. Most notably, here in America, the terrorist attacks of Sept. 11. Many of us remember exactly where we were when they happened. They played a significant part in shaping the society we stepped into as adults as well as the world we stand in today.\u003c/p>\n\u003cp>One can only imagine how this war on germs, like the War on Terror, will shape the future for all of us, especially the younger folks who walked out of their classrooms and into adulthood months earlier than expected.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One thing is for sure: years from now, my niece will meet someone her age at a bar or cafe, and they’ll have that shared moment of, \u003cem>Damn, so you didn’t have a graduation either?\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll around Oakland, there are young folks who were looking forward to that final celebration, an acknowledgement that they successfully completed their K-12 educations. Students from public schools, continuation schools, arts magnet schools and private schools are all dealing with the grief and confusion that come with experiencing something like this. \u003ca href=\"https://www.kqed.org/news/senioryear\" target=\"_blank\" rel=\"noopener noreferrer\">KQED\u003c/a> is asking seniors from around the Bay Area to submit videos and share their stories, and yesterday our show \u003ca href=\"https://www.kqed.org/forum/2010101877094/california-12th-graders-reflect-on-their-interrupted-senior-year\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Forum\u003c/em>\u003c/a> featured tales from a few students. To contribute to the effort, I got on the phone and called a few folks from Oakland.\u003c/p>\n\u003cp>Jayla D. is a standout player on the Bishop O’Dowd High School softball team. Her junior year stats show that she’s just outside of the top 50 ballers in California, and above the national average in every aspect of the game. But she won’t have a senior year stat line.\u003c/p>\n\u003cp>A career 3.5 GPA student, she’s looking to study kinesiology and get into sports medicine at San Diego State University in the fall. She hopes to walk onto the softball team. Her future is bright, but Jayla D. still says, “I can’t believe this ended like this. I just don’t know how to feel. It’s just hard to see people who’ve worked so hard, and had everything taken away from them—and there’s nothing that can be done about it.”\u003c/p>\n\u003cp>On the other side of town, is another Jayla—Jayla H. A talented drummer (part of the band \u003ca href=\"https://m.soundcloud.com/green-music/sets/the-black-tape\" target=\"_blank\" rel=\"noopener noreferrer\">Black Excellence\u003c/a>) who attended Oakland School for the Arts for middle school and high school.\u003c/p>\n\u003cfigure id=\"attachment_13879034\" class=\"wp-caption alignright\" style=\"max-width: 332px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13879034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Jayla-H.-800x789.png\" alt=\"Jayla H. on the drums\" width=\"332\" height=\"327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H.-800x789.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H.-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H.-768x757.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Jayla-H..png 1000w\" sizes=\"(max-width: 332px) 100vw, 332px\">\u003cfigcaption class=\"wp-caption-text\">Jayla H. on the drums. \u003ccite>(Jayla H.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s taken the blur of the last few weeks relatively well, spending time reading and \u003ca href=\"https://www.instagram.com/p/B-JCEkdBDDh/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">making music. \u003c/a>And even taking some time to step back from the rat race and learn about herself.\u003c/p>\n\u003cp>“In school, we’re always on the clock,” says Jayla H., referencing the rush from one period to the next. “Now that we’ve got this break, I can focus on doing both [academics and arts] on my own time and in my own space,” she says. “That’s been really helpful.”\u003c/p>\n\u003cp>But when it comes to forgoing ceremonies, Jayla H., who plans on attending the San Francisco Conservatory of Music in the fall, says, “I wanted to have my family and community see what I’ve been working towards. And now, that’s not happening anymore—it’s been heartbreaking.”\u003c/p>\n\u003cp>Another aspiring artist from Oakland is Fremont High School’s Jacob Hicks. This 18-year-old student has been drawing all his life, and now he’s looking to pursue a career in animation graphics.\u003c/p>\n\u003cp>But right now, he’s just getting a handle on this concept of “distance learning.” Hicks says, “People who learn in-person are struggling. … Emailing a teacher and waiting for a response doesn’t always work.”\u003c/p>\n\u003cfigure id=\"attachment_13879070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879070\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-800x796.jpg\" alt=\"Jacob Hicks, future animator\" width=\"800\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-800x796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM-1020x1014.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.13.13-AM.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Hicks, future animator. \u003ccite>(Jacob Hicks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hicks, who still plans on attending Berkeley City College in the fall, says he’s learning to navigate all of these changes. “We’re on the verge of graduating and living our lives. … I had everything planned out.” And now just about everything has changed.\u003c/p>\n\u003cp>About four miles up the hill from Fremont High, at the Head-Royce School, 17-year-old Caroline has been talking to her father about everything that’s transpiring. He’s a doctor, and she’s looking to become a pediatrician.\u003c/p>\n\u003cp>She’s planning on attending Case Western in Cleveland, Ohio next fall, but she laments what she’s missing out on this spring.\u003c/p>\n\u003cp>Caroline was one of the leaders of the dance program at her school. They had been working on the Fine Arts Dance Ensemble’s big show since September. “We sacrificed \u003cem>so many\u003c/em> lunches throughout the school year,” Caroline tells me. The show would have happened last week. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tayland, a senior from Castlemont High, was getting ready to work a shift at KFC when I called him. The 17-year-old is planning on attending Sacramento State University in the fall. He wants to play football and study public health—inspired by a former teacher, experiences in health classes and “issues in the world that need to be fixed.”\u003c/p>\n\u003cp>(Great time to jump into solving problems in the public health field, eh?)\u003c/p>\n\u003cp>On the topic of having a shortened senior year, Tayland told me that not having the opportunity to show your family the person you’re becoming is the worst thing about it. “Especially when you have people who’ve got out of institutions. Or the people you’ve been doing it for. You know, the faces you want to see and show them what you’ve done,” says Tayland. “It’s not a good feeling.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s for my niece, Talyah? She told me it hurts to cancel plans, but maybe it’s something she has to go through for something greater to come along.\u003c/p>\n\u003cp>She’s more bummed about prom than graduation. But over all, she’s not feeling set back. “I’ve always felt like I didn’t need high school. Next year when college starts, I’ll be fine,” says Talyah, a senior at Street Academy who plans on getting into the Peralta College system and focusing on interior design.\u003c/p>\n\u003cfigure id=\"attachment_13879072\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879072\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-800x810.png\" alt=\"Talyah Cole, future interior decorator\" width=\"800\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-800x810.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-160x162.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM-768x777.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-9.26.56-AM.png 824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talyah Cole, future interior decorator. \u003ccite>(Talyah Cole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it comes to be being connected to the larger class of 2020, Talyah says, “Its kind of embarrassing, just to know that we’re the only class that didn’t finish—that can’t finish. It’s not like we can go back—nobody wants to go back to high school.”\u003c/p>\n\u003cp>I asked her about the photo, the one where I’m holding her as a toddler. “I thought about that, and you know, if anything, when May 29 comes around, I’ll buy my own cap and gown and take a selfie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seems like a lot of students are taking a bad situation and making the most of it. This final lesson of their high school careers is one that’s going to be useful in life, over and over again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When seven Bay Area counties announced shelter-in-place orders to stop the spread of coronavirus on March 16, concert cancellations cost Oakland guitarist and improviser \u003ca href=\"https://www.karlevangelista.com/\">Karl Evangelista\u003c/a> more than a thousand dollars in expected income. Then came the painful postponement of the San Francisco International Arts Festival. That derailed months of planning to convene an international quartet to perform his multimedia composition \u003cem>Apura\u003c/em> and mark its release on the Astral Spirits label. Evangelista had fronted thousands for flights alone. [aside postID=arts_13876535,arts_13876314,arts_13876893]\u003c/p>\n\u003cp>Evangelista, a busy member of the Bay Area experimental music scene, feels fortunate to have only been laid off from one of his teaching gigs, and has lately turned his attention to organizing—and trying to monetize—livestreamed performances. But he’s anxious about the disruption’s lasting effects on a community already challenged by Bay Area housing costs and dwindling venues, as well as the emotional toll of isolation and other creative constraints.\u003c/p>\n\u003cp>“Improvised music being collaborative in nature, this is having a severe psychological impact on musicians who are basically unable to create,” Evangelista says.\u003c/p>\n\u003cp>No corner of the local music scene is spared harm, but the pandemic restrictions uniquely threaten independent artists in the experimental, jazz and improvisation community. Many of them live gig-to-gig on teaching, performing and audio engineering opportunities, all of which are diminished. Few derive meaningful income from physical merchandise or streaming. Layoffs are also hitting their day jobs: \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\">arts administration\u003c/a>, \u003ca href=\"https://www.sfchronicle.com/business/article/Mass-layoffs-at-Yelp-Eventbrite-show-15190391.php#\">music technology\u003c/a>, \u003ca href=\"https://www.kqed.org/bayareabites/136828/bay-area-organizations-helping-the-local-food-industry\">food service\u003c/a>, \u003ca href=\"https://twitter.com/lefebvre_sam/status/1247592353738575872\">record stores\u003c/a>.\u003c/p>\n\u003cp>“There isn’t the audience to graduate your career like in some genres,” Brent Miller, composer and co-founder of the San Francisco venue \u003ca href=\"https://centerfornewmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for New Music,\u003c/a> explains. “There’s no clear path.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, the congregating and collaboration that usually justifies the struggle is outlawed.\u003c/p>\n\u003cp>Between earlier challenges and this indefinite period of economic freefall and creative frustration, experimental musicians are nearing a breaking point. “When will this end?” Evangelista wonders. “Not knowing is the most troubling thing.”\u003c/p>\n\u003cp>The results of a new Center for New Music survey, shared exclusively with KQED, show 425 respondents working in generally non-commercial styles have already lost an estimated $1.5 million in expected income, a number projected to grow to $4 million if restrictions persist through the summer. Many fear they’ll be forced to incur personal debt (44%) or pursue another career (33%). 20% of the respondents worry the crisis will force them to leave the Bay Area altogether.\u003c/p>\n\u003cfigure id=\"attachment_13878773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/C4NM-survey-grab-1.png\" alt=\"An infographic from Center for New Music's survey of local experimental musicians.\" width=\"1920\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-160x81.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-800x406.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-768x390.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-1020x518.png 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An infographic from Center for New Music’s survey of local experimental musicians. \u003ccite>(Center for New Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most respondents to the survey, coordinated with InterMusic SF, Lisa Mezzacappa, \u003ca href=\"https://www.kqed.org/arts/13875256/a-solution-for-musicians-suffering-from-exposure-labor-organizing\" target=\"_blank\" rel=\"noopener noreferrer\">Jazz in the Neighborhood\u003c/a> and Bird & Beckett Books & Records, earn money as music educators and freelance performers. More than half of the 262 music teachers have lost significant income in the shift to online instruction, and more than half of the 125 teachers affiliated with a school believe they’re ineligible for unemployment benefits. Although the federal aid package expanded unemployment eligibility to independent contractors, Evangelista says some of his freelance musician friends have been denied without explanation. More than half of the self-employed survey respondents are unsure if they have enough documentation of lost wages to apply.\u003c/p>\n\u003cp>“I knew the survey would show fear,” says Miller. “But I was stunned to see more than 5,000 concerts canceled.” Miller also points out that though the respondents perform mostly in San Francisco, many of them live in other parts of the Bay Area. That means they are ineligible for San Francisco’s Arts Relief Program, and there’s no comparable fund from the cities of Berkeley or Oakland.\u003c/p>\n\u003cp>“Many of us were priced out of San Francisco but still do our work there, and now we’re not eligible,” he says. The Center for New Music, meanwhile, is struggling to make up for lost rental and co-working membership income, which it normally relies on to subsidize experimental music programming.\u003c/p>\n\u003cp>Many musicians with abundant time to practice now lack the space. The 34-unit Jack London Rehearsal in Oakland is closed to comply with the prohibition of non-essential businesses; tenants make appointments to retrieve instruments. \u003ca href=\"http://jordanglennmusic.com/\">Jordan Glenn\u003c/a>, an Oakland drummer and composer accustomed to a rotating cast of collaborators, has had about ten gigs and two recording dates canceled. He set up a dampened kit at home to continue giving lessons through the San Francisco Rock Project, but feels creatively constricted in unanticipated ways.\u003c/p>\n\u003cfigure id=\"attachment_13878774\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/PicbyHeikeLiss.jpeg\" alt=\"Drummer Jordan Glenn is unable to practice in his Oakland rehearsal space.\" width=\"750\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/PicbyHeikeLiss.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/PicbyHeikeLiss-160x213.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Drummer Jordan Glenn is unable to practice in his Oakland rehearsal space. \u003ccite>(Heike Liss/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Playing with people, all of my commitments, they’re a kind of practice,” he says. “Without that or the space to play without self-consciousness, I’m left with my head games—it’s getting tough.”\u003c/p>\n\u003cp>Oakland Music Complex, the largest rehearsal space in the Bay Area, is leaving artists to assess the safety of visiting the building, and has reduced April rent by half. Tom Ferguson, an Oakland bassist in bands including \u003ca href=\"https://www.kqed.org/arts/13843080/in-new-oakland-can-you-still-smash-a-piano-and-call-it-art\" target=\"_blank\" rel=\"noopener noreferrer\">Moe Staiano\u003c/a>’s avant-rock group Surplus 1980, says half of the 10 people in his space are full-time musicians, and they’re all avoiding the unit. His upcoming tour with songwriter Bill Baird is canceled, along with recording sound engineering dates. He’s also furloughed from his job at Keith McMillen Instruments.\u003c/p>\n\u003cp>“I miss the social aspect,” Ferguson says. “The reason I’m here is to contribute to the community of artists and musicians, so when there’s no gigs and no recording sessions I feel like a fish out of water.”\u003c/p>\n\u003cp>Experimental musicians, like others in the arts, are exploring livestreaming as an imperfect alternative to concerts. Earlier this month Evangelista organized \u003ca href=\"https://www.facebook.com/events/275032363670668/\">Lockdown Festival\u003c/a>, five hours of continuous performances by local musicians in different locations. It featured performers including Marshall Trammell, Scott Amendola and the duo \u003ca href=\"https://www.kqed.org/arts/13846432/the-10-best-bay-area-albums-of-2018-voicehandler-light-from-another-light\" target=\"_blank\" rel=\"noopener noreferrer\">Voicehandler\u003c/a>, comprising Jacob Felix Heule and Danishta Rivero Still, Evangelista said he found not all artists have the equipment required to livestream, and there’s little guarantee viewers are willing to pay the equivalent of a door fee to watch from home. Few are eager to embrace live video as an interim solution, let alone the new normal.\u003c/p>\n\u003cp>Still, some small venues are beginning to adapt. \u003ca href=\"https://birdbeckett.com/\">Bird & Beckett\u003c/a> in San Francisco is streaming performances from the closed shop on Facebook while collecting donations. \u003ca href=\"https://proartsgallery.org/\">Pro Arts\u003c/a> in Oakland, a nonprofit gallery that’s absorbed many of the experimental gigs displaced from underground venues in recent years, is similarly developing a livestream studio, and recently issued an open-call for digital media submissions to be shown as online events for a fee that benefits artists. Natalia Mount, director of Pro Arts, also wants the gallery to provide resources in other ways, for instance distributing toiletries.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“For us it’s just another day—we’re always on the precipice of closing,” she says. “So at least we can continue to experiment with the space.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When seven Bay Area counties announced shelter-in-place orders to stop the spread of coronavirus on March 16, concert cancellations cost Oakland guitarist and improviser \u003ca href=\"https://www.karlevangelista.com/\">Karl Evangelista\u003c/a> more than a thousand dollars in expected income. Then came the painful postponement of the San Francisco International Arts Festival. That derailed months of planning to convene an international quartet to perform his multimedia composition \u003cem>Apura\u003c/em> and mark its release on the Astral Spirits label. Evangelista had fronted thousands for flights alone. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Evangelista, a busy member of the Bay Area experimental music scene, feels fortunate to have only been laid off from one of his teaching gigs, and has lately turned his attention to organizing—and trying to monetize—livestreamed performances. But he’s anxious about the disruption’s lasting effects on a community already challenged by Bay Area housing costs and dwindling venues, as well as the emotional toll of isolation and other creative constraints.\u003c/p>\n\u003cp>“Improvised music being collaborative in nature, this is having a severe psychological impact on musicians who are basically unable to create,” Evangelista says.\u003c/p>\n\u003cp>No corner of the local music scene is spared harm, but the pandemic restrictions uniquely threaten independent artists in the experimental, jazz and improvisation community. Many of them live gig-to-gig on teaching, performing and audio engineering opportunities, all of which are diminished. Few derive meaningful income from physical merchandise or streaming. Layoffs are also hitting their day jobs: \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\">arts administration\u003c/a>, \u003ca href=\"https://www.sfchronicle.com/business/article/Mass-layoffs-at-Yelp-Eventbrite-show-15190391.php#\">music technology\u003c/a>, \u003ca href=\"https://www.kqed.org/bayareabites/136828/bay-area-organizations-helping-the-local-food-industry\">food service\u003c/a>, \u003ca href=\"https://twitter.com/lefebvre_sam/status/1247592353738575872\">record stores\u003c/a>.\u003c/p>\n\u003cp>“There isn’t the audience to graduate your career like in some genres,” Brent Miller, composer and co-founder of the San Francisco venue \u003ca href=\"https://centerfornewmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for New Music,\u003c/a> explains. “There’s no clear path.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, the congregating and collaboration that usually justifies the struggle is outlawed.\u003c/p>\n\u003cp>Between earlier challenges and this indefinite period of economic freefall and creative frustration, experimental musicians are nearing a breaking point. “When will this end?” Evangelista wonders. “Not knowing is the most troubling thing.”\u003c/p>\n\u003cp>The results of a new Center for New Music survey, shared exclusively with KQED, show 425 respondents working in generally non-commercial styles have already lost an estimated $1.5 million in expected income, a number projected to grow to $4 million if restrictions persist through the summer. Many fear they’ll be forced to incur personal debt (44%) or pursue another career (33%). 20% of the respondents worry the crisis will force them to leave the Bay Area altogether.\u003c/p>\n\u003cfigure id=\"attachment_13878773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/C4NM-survey-grab-1.png\" alt=\"An infographic from Center for New Music's survey of local experimental musicians.\" width=\"1920\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-160x81.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-800x406.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-768x390.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-1020x518.png 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An infographic from Center for New Music’s survey of local experimental musicians. \u003ccite>(Center for New Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most respondents to the survey, coordinated with InterMusic SF, Lisa Mezzacappa, \u003ca href=\"https://www.kqed.org/arts/13875256/a-solution-for-musicians-suffering-from-exposure-labor-organizing\" target=\"_blank\" rel=\"noopener noreferrer\">Jazz in the Neighborhood\u003c/a> and Bird & Beckett Books & Records, earn money as music educators and freelance performers. More than half of the 262 music teachers have lost significant income in the shift to online instruction, and more than half of the 125 teachers affiliated with a school believe they’re ineligible for unemployment benefits. Although the federal aid package expanded unemployment eligibility to independent contractors, Evangelista says some of his freelance musician friends have been denied without explanation. More than half of the self-employed survey respondents are unsure if they have enough documentation of lost wages to apply.\u003c/p>\n\u003cp>“I knew the survey would show fear,” says Miller. “But I was stunned to see more than 5,000 concerts canceled.” Miller also points out that though the respondents perform mostly in San Francisco, many of them live in other parts of the Bay Area. That means they are ineligible for San Francisco’s Arts Relief Program, and there’s no comparable fund from the cities of Berkeley or Oakland.\u003c/p>\n\u003cp>“Many of us were priced out of San Francisco but still do our work there, and now we’re not eligible,” he says. The Center for New Music, meanwhile, is struggling to make up for lost rental and co-working membership income, which it normally relies on to subsidize experimental music programming.\u003c/p>\n\u003cp>Many musicians with abundant time to practice now lack the space. The 34-unit Jack London Rehearsal in Oakland is closed to comply with the prohibition of non-essential businesses; tenants make appointments to retrieve instruments. \u003ca href=\"http://jordanglennmusic.com/\">Jordan Glenn\u003c/a>, an Oakland drummer and composer accustomed to a rotating cast of collaborators, has had about ten gigs and two recording dates canceled. He set up a dampened kit at home to continue giving lessons through the San Francisco Rock Project, but feels creatively constricted in unanticipated ways.\u003c/p>\n\u003cfigure id=\"attachment_13878774\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/PicbyHeikeLiss.jpeg\" alt=\"Drummer Jordan Glenn is unable to practice in his Oakland rehearsal space.\" width=\"750\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/PicbyHeikeLiss.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/PicbyHeikeLiss-160x213.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Drummer Jordan Glenn is unable to practice in his Oakland rehearsal space. \u003ccite>(Heike Liss/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Playing with people, all of my commitments, they’re a kind of practice,” he says. “Without that or the space to play without self-consciousness, I’m left with my head games—it’s getting tough.”\u003c/p>\n\u003cp>Oakland Music Complex, the largest rehearsal space in the Bay Area, is leaving artists to assess the safety of visiting the building, and has reduced April rent by half. Tom Ferguson, an Oakland bassist in bands including \u003ca href=\"https://www.kqed.org/arts/13843080/in-new-oakland-can-you-still-smash-a-piano-and-call-it-art\" target=\"_blank\" rel=\"noopener noreferrer\">Moe Staiano\u003c/a>’s avant-rock group Surplus 1980, says half of the 10 people in his space are full-time musicians, and they’re all avoiding the unit. His upcoming tour with songwriter Bill Baird is canceled, along with recording sound engineering dates. He’s also furloughed from his job at Keith McMillen Instruments.\u003c/p>\n\u003cp>“I miss the social aspect,” Ferguson says. “The reason I’m here is to contribute to the community of artists and musicians, so when there’s no gigs and no recording sessions I feel like a fish out of water.”\u003c/p>\n\u003cp>Experimental musicians, like others in the arts, are exploring livestreaming as an imperfect alternative to concerts. Earlier this month Evangelista organized \u003ca href=\"https://www.facebook.com/events/275032363670668/\">Lockdown Festival\u003c/a>, five hours of continuous performances by local musicians in different locations. It featured performers including Marshall Trammell, Scott Amendola and the duo \u003ca href=\"https://www.kqed.org/arts/13846432/the-10-best-bay-area-albums-of-2018-voicehandler-light-from-another-light\" target=\"_blank\" rel=\"noopener noreferrer\">Voicehandler\u003c/a>, comprising Jacob Felix Heule and Danishta Rivero Still, Evangelista said he found not all artists have the equipment required to livestream, and there’s little guarantee viewers are willing to pay the equivalent of a door fee to watch from home. Few are eager to embrace live video as an interim solution, let alone the new normal.\u003c/p>\n\u003cp>Still, some small venues are beginning to adapt. \u003ca href=\"https://birdbeckett.com/\">Bird & Beckett\u003c/a> in San Francisco is streaming performances from the closed shop on Facebook while collecting donations. \u003ca href=\"https://proartsgallery.org/\">Pro Arts\u003c/a> in Oakland, a nonprofit gallery that’s absorbed many of the experimental gigs displaced from underground venues in recent years, is similarly developing a livestream studio, and recently issued an open-call for digital media submissions to be shown as online events for a fee that benefits artists. Natalia Mount, director of Pro Arts, also wants the gallery to provide resources in other ways, for instance distributing toiletries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For us it’s just another day—we’re always on the precipice of closing,” she says. “So at least we can continue to experiment with the space.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Robert Lopez was only seven weeks into a nine-month Fulbright trip to Brazil, studying music of the syncretic religion Candomblé, when program officials told him to return to the United States.\u003c/p>\n\u003cp>The \u003ca href=\"https://robertlopezmusic.tumblr.com/bio\">Oakland percussionist\u003c/a> and \u003ca href=\"https://www.eastbayexpress.com/oakland/activemusic-series-provides-relaxed-atmosphere-for-strange-sounds/Content?oid=8276603\">improvised music scene fixture\u003c/a> was devastated. Lopez spent years pursuing the prestigious research grant, and he and his partner forfeited their jobs and rent-controlled apartment to move to Salvador, a center of the Afro-Brazilian spiritual practice. “I expected two or three months to plan re-entry,” Lopez said. “Instead it was a matter of days.”\u003c/p>\n\u003cp>Fulbright told Lopez and other grantees to leave Brazil on March 20 as the novel coronavirus escalated into a global pandemic, revoking his healthcare and withholding 41 percent of the $15,350 grant for living and travel expenses. Instead of enhancing safety, Lopez felt Fulbright actually heightened his exposure risk. “Flying back to the U.S., no one was screened,” he said.\u003c/p>\n\u003cp>It’s little consolation that Fulbright now considers Lopez a program alum. “That doesn’t mean anything to me right now,” he said. From temporary housing in the Southern California desert, where Lopez and his partner, experimental musician Shanna Sordahl, have self-quarantined, he’s joining with other Fulbrighters to write congresspeople, asking at least for the full stipend.\u003c/p>\n\u003cp>“But what I want more than anything is to go back to Brazil and finish this project,” Lopez said.\u003c/p>\n\u003cfigure id=\"attachment_13878169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/IMG_20200223_164832-800x600.jpg\" alt=\"Atabaques, a type of hand drum used in Candomblé music, and yellow flowers symbolizing the deity Oxum.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13878169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Atabaques, a type of hand drum used in Candomblé music, and yellow flowers symbolizing the deity Oxum. \u003ccite>(Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez, 37, encountered the ensemble drumming of Candomblé, a religious expression borne of the Atlantic slave trade and Portuguese colonialism, as a Cal State Long Beach undergraduate on trips to Brazil with the World Percussion Project. He moved to the Bay Area in 2011 to pursue a graduate degree in the Mills College music department, and five years ago began studying independently with a master Candomblé percussionist and dancer in Oakland, \u003ca href=\"http://www.jorgealabe.com/about.html\">Jorge Alabê\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a Candomblé ceremony, musicians lead dancers in tributes to unique deities, known as orixás. The ensemble generally includes a bell player, two support drummers and a lead drummer playing atabaques, hand drums akin to congas. Lopez was moved by the atabaque’s dynamic range and the music’s fluid feel, especially the improvisational lead drum. Studying with Alabê, he grew skilled enough to support Candomblé dancers for educational and ceremonial purposes.\u003c/p>\n\u003cp>Lopez was fortunate to meet Alabê. Unlike idioms such as samba, master percussionists in the Candomblé tradition are rare outside of Brazil. At the same time, he noticed the music receiving little scholarly attention. He felt the pull of Salvador, a port city in the Bahia state considered sacred in the Candomblé faith, to gain cultural context. “Otherwise it’s like studying jazz coordination patterns on drums without hearing musicians interact in the moment,” Lopez said.\u003c/p>\n\u003cfigure id=\"attachment_13878237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RobertLopez.Inline-800x1064.jpg\" alt=\"Robert Lopez and Shanna Sordahl parading during Carnaval.\" width=\"600\" height=\"798\" class=\"size-medium wp-image-13878237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline-768x1021.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Robert Lopez and Shanna Sordahl parading during Carnaval. \u003ccite>(Courtesy Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez first’s Fulbright application in 2017 was declined. He re-submitted in October of 2018, and was accepted last April. He learned conversational Portuguese, secured a university affiliation and made key inroads with practitioners in Salvador to prepare for the intensive ethnomusicological study. “I am on the cusp of having the knowledge and ability to take a leadership role in the transmission of Candomblé in the US,” he wrote in the project proposal.\u003c/p>\n\u003cp>For a short while, Lopez was on track to achieve his goals. He and Sordahl sublet the apartment of Rosangela Silvestre, a dancer he’d accompanied as a drummer in California. He received group and individual instruction most days at the Diáspora Art Center in Salvador and private studios from teachers including Nem Britto, Bira Santos, Iuri Passos, Ueslei “Totó” Cruz and Mario Pam. Lopez also developed a daily transcription practice, notating music traditionally taught by example.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Robert Lopez']‘When you leave your place in the Bay Area, it’s hard to come back, especially as an artist.’[/pullquote]In mid-March, Fulbright notified Lopez and some 30 other fellows in Brazil that they could continue receiving medical coverage and their stipend if they signed a waiver releasing the \u003ca href=\"https://eca.state.gov/fulbright\" rel=\"noopener noreferrer\" target=\"_blank\">Department of State-funded program\u003c/a> from liability. Lopez signed it. Days later, though, Fulbright walked back the option. “The order on the 20th said you have days before your health coverage runs out, and you’re not getting funded,” Lopez said. “Fulbright was totally unprepared.”\u003c/p>\n\u003cp>Fulbright has called participants’ health and safety its highest priority in the unprecedented program cancellation, which affects hundreds of fellows worldwide. But many fellows believe they were needlessly exposed, especially now that the United States vastly outpaces other countries in the number of confirmed cases. “By far the greatest worry we had about returning to the United States…was contracting COVID-19 while traveling,” Maia Evrona, a writer and Fulbright fellow studying in Greece and Spain, wrote in an \u003ca href=\"https://lareviewofbooks.org/short-takes/fulbright-covid-19/\">account\u003c/a> for the \u003cem>Los Angeles Review of Books\u003c/em>.\u003c/p>\n\u003cp>Grantees such as Lopez, meanwhile, are now left to recover work and housing in a spiraling economy. “When you leave your place in the Bay Area, it’s hard to come back, especially as an artist,” said Lopez, who’s staying with Sordahl near Joshua Tree. “The next payment is barely a month’s rent.” Lopez previously taught at the Community Music Center and San Francisco Waldorf High School; the music center will rehire him, but the hours aren’t guaranteed, and classes have migrated online. As a musician, his prospects for paid gigs are next to none.\u003c/p>\n\u003cfigure id=\"attachment_13878170\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/MVIMG_20200216_124700.jpg\" alt=\"Oxum Square at the Candomblé temple Casa Branca, where Lopez's teacher Jorge Alabê was initiated.\" width=\"1920\" height=\"1362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-1020x724.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oxum Square at the Candomblé temple Casa Branca, where Lopez’s teacher Jorge Alabê was initiated. \u003ccite>(Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because Fulbright is paying stipends through June, fellows whose trips correspond with the school year are receiving most of the grant. Lopez, however, is among the fellows who started later, putting him out $6,346. At the end of April, he’s anticipating a final payment of $2,254. Receiving the alum title also stings—it implies there’s no option for him to renew his studies. Not long after recalling 2020 fellows, Fulbright began approving a new round of grantees for 2021.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The experience in Brazil only steeled his resolve to return. Lopez’s interest in the dance of Candomblé, not previously a research focus, grew immensely. His daily transcription practice clarified connections between Candomblé and other Afro-Atlantic religions. He also felt privileged to play support atabaque in a ceremony for the deity Oxúm at the Terreiro Pilão de Prata, he said. “Experiencing the songs, the dance, the trance—that’s what I was there for.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Lopez was only seven weeks into a nine-month Fulbright trip to Brazil, studying music of the syncretic religion Candomblé, when program officials told him to return to the United States.\u003c/p>\n\u003cp>The \u003ca href=\"https://robertlopezmusic.tumblr.com/bio\">Oakland percussionist\u003c/a> and \u003ca href=\"https://www.eastbayexpress.com/oakland/activemusic-series-provides-relaxed-atmosphere-for-strange-sounds/Content?oid=8276603\">improvised music scene fixture\u003c/a> was devastated. Lopez spent years pursuing the prestigious research grant, and he and his partner forfeited their jobs and rent-controlled apartment to move to Salvador, a center of the Afro-Brazilian spiritual practice. “I expected two or three months to plan re-entry,” Lopez said. “Instead it was a matter of days.”\u003c/p>\n\u003cp>Fulbright told Lopez and other grantees to leave Brazil on March 20 as the novel coronavirus escalated into a global pandemic, revoking his healthcare and withholding 41 percent of the $15,350 grant for living and travel expenses. Instead of enhancing safety, Lopez felt Fulbright actually heightened his exposure risk. “Flying back to the U.S., no one was screened,” he said.\u003c/p>\n\u003cp>It’s little consolation that Fulbright now considers Lopez a program alum. “That doesn’t mean anything to me right now,” he said. From temporary housing in the Southern California desert, where Lopez and his partner, experimental musician Shanna Sordahl, have self-quarantined, he’s joining with other Fulbrighters to write congresspeople, asking at least for the full stipend.\u003c/p>\n\u003cp>“But what I want more than anything is to go back to Brazil and finish this project,” Lopez said.\u003c/p>\n\u003cfigure id=\"attachment_13878169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/IMG_20200223_164832-800x600.jpg\" alt=\"Atabaques, a type of hand drum used in Candomblé music, and yellow flowers symbolizing the deity Oxum.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13878169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Atabaques, a type of hand drum used in Candomblé music, and yellow flowers symbolizing the deity Oxum. \u003ccite>(Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez, 37, encountered the ensemble drumming of Candomblé, a religious expression borne of the Atlantic slave trade and Portuguese colonialism, as a Cal State Long Beach undergraduate on trips to Brazil with the World Percussion Project. He moved to the Bay Area in 2011 to pursue a graduate degree in the Mills College music department, and five years ago began studying independently with a master Candomblé percussionist and dancer in Oakland, \u003ca href=\"http://www.jorgealabe.com/about.html\">Jorge Alabê\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a Candomblé ceremony, musicians lead dancers in tributes to unique deities, known as orixás. The ensemble generally includes a bell player, two support drummers and a lead drummer playing atabaques, hand drums akin to congas. Lopez was moved by the atabaque’s dynamic range and the music’s fluid feel, especially the improvisational lead drum. Studying with Alabê, he grew skilled enough to support Candomblé dancers for educational and ceremonial purposes.\u003c/p>\n\u003cp>Lopez was fortunate to meet Alabê. Unlike idioms such as samba, master percussionists in the Candomblé tradition are rare outside of Brazil. At the same time, he noticed the music receiving little scholarly attention. He felt the pull of Salvador, a port city in the Bahia state considered sacred in the Candomblé faith, to gain cultural context. “Otherwise it’s like studying jazz coordination patterns on drums without hearing musicians interact in the moment,” Lopez said.\u003c/p>\n\u003cfigure id=\"attachment_13878237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RobertLopez.Inline-800x1064.jpg\" alt=\"Robert Lopez and Shanna Sordahl parading during Carnaval.\" width=\"600\" height=\"798\" class=\"size-medium wp-image-13878237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline-768x1021.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Robert Lopez and Shanna Sordahl parading during Carnaval. \u003ccite>(Courtesy Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez first’s Fulbright application in 2017 was declined. He re-submitted in October of 2018, and was accepted last April. He learned conversational Portuguese, secured a university affiliation and made key inroads with practitioners in Salvador to prepare for the intensive ethnomusicological study. “I am on the cusp of having the knowledge and ability to take a leadership role in the transmission of Candomblé in the US,” he wrote in the project proposal.\u003c/p>\n\u003cp>For a short while, Lopez was on track to achieve his goals. He and Sordahl sublet the apartment of Rosangela Silvestre, a dancer he’d accompanied as a drummer in California. He received group and individual instruction most days at the Diáspora Art Center in Salvador and private studios from teachers including Nem Britto, Bira Santos, Iuri Passos, Ueslei “Totó” Cruz and Mario Pam. Lopez also developed a daily transcription practice, notating music traditionally taught by example.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In mid-March, Fulbright notified Lopez and some 30 other fellows in Brazil that they could continue receiving medical coverage and their stipend if they signed a waiver releasing the \u003ca href=\"https://eca.state.gov/fulbright\" rel=\"noopener noreferrer\" target=\"_blank\">Department of State-funded program\u003c/a> from liability. Lopez signed it. Days later, though, Fulbright walked back the option. “The order on the 20th said you have days before your health coverage runs out, and you’re not getting funded,” Lopez said. “Fulbright was totally unprepared.”\u003c/p>\n\u003cp>Fulbright has called participants’ health and safety its highest priority in the unprecedented program cancellation, which affects hundreds of fellows worldwide. But many fellows believe they were needlessly exposed, especially now that the United States vastly outpaces other countries in the number of confirmed cases. “By far the greatest worry we had about returning to the United States…was contracting COVID-19 while traveling,” Maia Evrona, a writer and Fulbright fellow studying in Greece and Spain, wrote in an \u003ca href=\"https://lareviewofbooks.org/short-takes/fulbright-covid-19/\">account\u003c/a> for the \u003cem>Los Angeles Review of Books\u003c/em>.\u003c/p>\n\u003cp>Grantees such as Lopez, meanwhile, are now left to recover work and housing in a spiraling economy. “When you leave your place in the Bay Area, it’s hard to come back, especially as an artist,” said Lopez, who’s staying with Sordahl near Joshua Tree. “The next payment is barely a month’s rent.” Lopez previously taught at the Community Music Center and San Francisco Waldorf High School; the music center will rehire him, but the hours aren’t guaranteed, and classes have migrated online. As a musician, his prospects for paid gigs are next to none.\u003c/p>\n\u003cfigure id=\"attachment_13878170\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/MVIMG_20200216_124700.jpg\" alt=\"Oxum Square at the Candomblé temple Casa Branca, where Lopez's teacher Jorge Alabê was initiated.\" width=\"1920\" height=\"1362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-1020x724.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oxum Square at the Candomblé temple Casa Branca, where Lopez’s teacher Jorge Alabê was initiated. \u003ccite>(Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because Fulbright is paying stipends through June, fellows whose trips correspond with the school year are receiving most of the grant. Lopez, however, is among the fellows who started later, putting him out $6,346. At the end of April, he’s anticipating a final payment of $2,254. Receiving the alum title also stings—it implies there’s no option for him to renew his studies. Not long after recalling 2020 fellows, Fulbright began approving a new round of grantees for 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Aneesa Strings has traveled the world playing the upright bass, but her story starts right here in Oakland.\u003c/p>\n\u003cp>Strings grew up playing in Oakland public schools and at a local nonprofit, Oaktown Jazz Workshops. She just released a single, called “\u003ca href=\"https://itunes.apple.com/us/album/lovealution-single/1454300709\">Lovealution\u003c/a>,” from her forthcoming second studio album. She says the song explores the validity of nature—the only thing, she likes to say, that’s not a scam.\u003c/p>\n\u003cp>Music is clearly Strings’ second nature, as she’s mastered the art of the upright bass, the piano and vocals. She’s performed as a background musician for L.A. rapper Ill Camille during \u003ca href=\"https://www.youtube.com/watch?v=OXPfeg09IOE\" target=\"_blank\" rel=\"noopener noreferrer\">an NPR Tiny Desk Concert last year\u003c/a>, and also played a major role in Duckwrth’s European tour in 2018. In 2109, Strings went on tour with jazz singer \u003ca href=\"http://www.josejamesmusic.com/#/tour\">José James.\u003c/a>\u003c/p>\n\u003cp>And Strings is scheduled to be in the SF Jazz collective this fall through spring 2021.\u003c/p>\n\u003cp>In between all of these movements, Strings was in Oakland for a stint, and I caught up with her to discuss her love for music and how she walks the tightrope between R&B and jazz. Click the link above to hear her story.\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on March 8, 2019\u003c/em>\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://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>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Scid Howard is a self-taught wildlife scholar who documents his ventures on \u003ca href=\"https://www.instagram.com/officialtrapnature/\" target=\"_blank\" rel=\"noopener noreferrer\">social media.\u003c/a> He fell in love with animals as a youngster in East Oakland and that affection has only grown as he’s matured.\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/ixTRk3-n1fo'\n title='//www.youtube.com/embed/ixTRk3-n1fo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now he has no problem with hiking off trails to find tarantulas. People call him to remove invasive snakes they find in or near their homes. And he is the owner of over 50 pets, including a handful of dogs, a few big snakes and a gecko named Nipsey.\u003c/p>\n\u003cfigure id=\"attachment_13877530\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8513-800x535.jpg\" alt=\"Scid Howard and Nipsey the Gecko\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8513-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8513-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8513-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8513-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8513.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scid Howard and Nipsey the Gecko \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve known him for a while, even \u003ca href=\"https://www.kqed.org/arts/13833979/the-snake-man-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">interviewed him\u003c/a> in 2018. And a few weeks ago, we went out to Antioch, where Scid now lives. We got familiar with some of his animals as well as some of the nature that surrounds him.\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\">\u003cbr>\n\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.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On Sunday evening, \u003ca href=\"https://twitter.com/GavinNewsom/status/1239309418497363968?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">California’s Governor Gavin Newsom\u003c/a> suggested people of this great state either shelter in place or move with caution in the coming days; that’s coupled with the \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/community/large-events/mass-gatherings-ready-for-covid-19.html\" target=\"_blank\" rel=\"noopener noreferrer\">CDC’s announcement\u003c/a> that “social distancing” is suggested for the next eight weeks.\u003c/p>\n\u003cp>When I heard that, I figured people would turn to the interwebs for connection, culture and creativity, but I didn’t imagine there’d be a whole online open mic session.\u003c/p>\n\u003cp>DJ and thespian Champagne Hughes will co-host \u003ca href=\"https://www.facebook.com/events/211032176973779/\" target=\"_blank\" rel=\"noopener noreferrer\">The Quarantine: Virtual Open Mic\u003c/a> with RyanNicole, an emcee, event host and, most recently, the understudy for the main character in the American Conservatory Theatre’s run of \u003cem>Toni Stone\u003c/em>. The play was canceled the day after it opened (along with \u003ca href=\"https://www.kqed.org/arts/13876622/what-we-lose-when-we-lose-the-arts-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">every other IRL event\u003c/a>) due to the spread of this virus.\u003c/p>\n\u003cp>What does a virtual open mic even look like?\u003c/p>\n\u003cp>“People should expect to find a healing environment,” says RyanNicole. It’ll be place where folks can “share the art they’ve been cultivating for events that have since been canceled, and art for the times,” she says, noting that performances aren’t limited to poetry. Songs, monologues, dances and more are welcomed, and expected.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The free event is scheduled to happen on March 18, 6–8pm, “or more if the spirit calls for it,” says RyanNicole. It’ll start with an opening set from DJ Champagne and then they’ll jump right into the show.\u003c/p>\n\u003cp>When asked about the importance of this kind of event, RyanNicole says she leans on sage wisdom from the late Toni Morrison as a guiding directive to aid her focus when feelings of hopelessness cloud her vision. The excerpt comes from \u003ca href=\"https://www.thenation.com/article/archive/no-place-self-pity-no-room-fear/\" target=\"_blank\" rel=\"noopener noreferrer\">a conversation\u003c/a> between the great writer and a friend during the depressive days right after the reelection of George W. Bush.\u003c/p>\n\u003cp>“This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal,” Morrison wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I know the world is bruised and bleeding, and though it is important not to ignore its pain, it is also critical to refuse to succumb to its malevolence. Like failure, chaos contains information that can lead to knowledge—even wisdom. Like art.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sunday evening, \u003ca href=\"https://twitter.com/GavinNewsom/status/1239309418497363968?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">California’s Governor Gavin Newsom\u003c/a> suggested people of this great state either shelter in place or move with caution in the coming days; that’s coupled with the \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/community/large-events/mass-gatherings-ready-for-covid-19.html\" target=\"_blank\" rel=\"noopener noreferrer\">CDC’s announcement\u003c/a> that “social distancing” is suggested for the next eight weeks.\u003c/p>\n\u003cp>When I heard that, I figured people would turn to the interwebs for connection, culture and creativity, but I didn’t imagine there’d be a whole online open mic session.\u003c/p>\n\u003cp>DJ and thespian Champagne Hughes will co-host \u003ca href=\"https://www.facebook.com/events/211032176973779/\" target=\"_blank\" rel=\"noopener noreferrer\">The Quarantine: Virtual Open Mic\u003c/a> with RyanNicole, an emcee, event host and, most recently, the understudy for the main character in the American Conservatory Theatre’s run of \u003cem>Toni Stone\u003c/em>. The play was canceled the day after it opened (along with \u003ca href=\"https://www.kqed.org/arts/13876622/what-we-lose-when-we-lose-the-arts-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">every other IRL event\u003c/a>) due to the spread of this virus.\u003c/p>\n\u003cp>What does a virtual open mic even look like?\u003c/p>\n\u003cp>“People should expect to find a healing environment,” says RyanNicole. It’ll be place where folks can “share the art they’ve been cultivating for events that have since been canceled, and art for the times,” she says, noting that performances aren’t limited to poetry. Songs, monologues, dances and more are welcomed, and expected.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The free event is scheduled to happen on March 18, 6–8pm, “or more if the spirit calls for it,” says RyanNicole. It’ll start with an opening set from DJ Champagne and then they’ll jump right into the show.\u003c/p>\n\u003cp>When asked about the importance of this kind of event, RyanNicole says she leans on sage wisdom from the late Toni Morrison as a guiding directive to aid her focus when feelings of hopelessness cloud her vision. The excerpt comes from \u003ca href=\"https://www.thenation.com/article/archive/no-place-self-pity-no-room-fear/\" target=\"_blank\" rel=\"noopener noreferrer\">a conversation\u003c/a> between the great writer and a friend during the depressive days right after the reelection of George W. Bush.\u003c/p>\n\u003cp>“This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal,” Morrison wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I know the world is bruised and bleeding, and though it is important not to ignore its pain, it is also critical to refuse to succumb to its malevolence. Like failure, chaos contains information that can lead to knowledge—even wisdom. Like art.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As cautions around further spread of the Coronavirus have caused an almost never-ending \u003ca href=\"https://www.kqed.org/arts/13876160/canceled-by-coronavirus-a-list-of-bay-area-concerts-cultural-events-museums-more\" target=\"_blank\" rel=\"noopener noreferrer\">list of canceled events\u003c/a>, Oakland’s Red Bay Coffee has decided to take their newest location’s grand opening online.\u003c/p>\n\u003cp>What was scheduled as an open house and conversation with Red Bay Coffee’s owner, Keba Konte, has now turned into \u003ca href=\"https://www.eventbrite.com/e/red-bay-coffees-virtual-open-house-tickets-92412114121\" target=\"_blank\" rel=\"noopener noreferrer\">a virtual tour\u003c/a> and an online question-and-answer session.\u003c/p>\n\u003cp>At 2pm on Saturday, March 14th, people who join the live conversation will get a “hard hat tour” of the company’s new \u003ca href=\"https://www.redbaycoffee.com/pages/hq\" target=\"_blank\" rel=\"noopener noreferrer\">headquarters\u003c/a>, according to Ronaldo Brown, the company’s head of marketing.\u003c/p>\n\u003cp>The building, the former site of a bank, is located on the corner of International Boulevard and Fruitvale Avenue in East Oakland.\u003c/p>\n\u003cp>Brown told me that, in addition to having office space for other business to rent, the building will have three main components; the first being a cafe for consumers, and the second being a quality control lab where workers will inspect coffee shipped in from around the world. The third is something I’ve got to see for myself: a “story vault,” where people will be invited to share their stories about coffee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’d be another layer to what I’ve seen of Red Bay Coffee’s community involvement. I know they host open mics, like \u003ca href=\"https://www.instagram.com/gold.beams/\" target=\"_blank\" rel=\"noopener noreferrer\">Gold Beams’ Second Mondays\u003c/a> series at their East 10th St. location, which isn’t too far from their new headquarters. In fact, I’ve been to film screenings there, as well as an event honoring the life of Nia Wilson, and a jam session where Tank and the Bangas were the headliner. But never anything like a “story vault.”\u003c/p>\n\u003cp>To see that in person, I’ll have to wait until the official opening, which is scheduled for mid-May.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those wondering, Red Bay’s location on E. 10th will remain open. And in addition to these two locations, \u003ca href=\"https://www.redbaycoffee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Bay Coffee\u003c/a> (which has one other site in Oakland, two locations in San Francisco and one in Richmond) is set to open their \u003ca href=\"https://la.eater.com/2019/11/19/20971257/red-bay-coffee-roaster-oakland-opening-jefferson-park-los-angeles\" target=\"_blank\" rel=\"noopener noreferrer\">first Southern California location\u003c/a> in Los Angeles’ Jefferson Park neighborhood later in 2020.—\u003cem>Pendarvis Harshaw\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As cautions around further spread of the Coronavirus have caused an almost never-ending \u003ca href=\"https://www.kqed.org/arts/13876160/canceled-by-coronavirus-a-list-of-bay-area-concerts-cultural-events-museums-more\" target=\"_blank\" rel=\"noopener noreferrer\">list of canceled events\u003c/a>, Oakland’s Red Bay Coffee has decided to take their newest location’s grand opening online.\u003c/p>\n\u003cp>What was scheduled as an open house and conversation with Red Bay Coffee’s owner, Keba Konte, has now turned into \u003ca href=\"https://www.eventbrite.com/e/red-bay-coffees-virtual-open-house-tickets-92412114121\" target=\"_blank\" rel=\"noopener noreferrer\">a virtual tour\u003c/a> and an online question-and-answer session.\u003c/p>\n\u003cp>At 2pm on Saturday, March 14th, people who join the live conversation will get a “hard hat tour” of the company’s new \u003ca href=\"https://www.redbaycoffee.com/pages/hq\" target=\"_blank\" rel=\"noopener noreferrer\">headquarters\u003c/a>, according to Ronaldo Brown, the company’s head of marketing.\u003c/p>\n\u003cp>The building, the former site of a bank, is located on the corner of International Boulevard and Fruitvale Avenue in East Oakland.\u003c/p>\n\u003cp>Brown told me that, in addition to having office space for other business to rent, the building will have three main components; the first being a cafe for consumers, and the second being a quality control lab where workers will inspect coffee shipped in from around the world. The third is something I’ve got to see for myself: a “story vault,” where people will be invited to share their stories about coffee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’d be another layer to what I’ve seen of Red Bay Coffee’s community involvement. I know they host open mics, like \u003ca href=\"https://www.instagram.com/gold.beams/\" target=\"_blank\" rel=\"noopener noreferrer\">Gold Beams’ Second Mondays\u003c/a> series at their East 10th St. location, which isn’t too far from their new headquarters. In fact, I’ve been to film screenings there, as well as an event honoring the life of Nia Wilson, and a jam session where Tank and the Bangas were the headliner. But never anything like a “story vault.”\u003c/p>\n\u003cp>To see that in person, I’ll have to wait until the official opening, which is scheduled for mid-May.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those wondering, Red Bay’s location on E. 10th will remain open. And in addition to these two locations, \u003ca href=\"https://www.redbaycoffee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Bay Coffee\u003c/a> (which has one other site in Oakland, two locations in San Francisco and one in Richmond) is set to open their \u003ca href=\"https://la.eater.com/2019/11/19/20971257/red-bay-coffee-roaster-oakland-opening-jefferson-park-los-angeles\" target=\"_blank\" rel=\"noopener noreferrer\">first Southern California location\u003c/a> in Los Angeles’ Jefferson Park neighborhood later in 2020.—\u003cem>Pendarvis Harshaw\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "what-students-are-saying-about-mcclymonds-closure",
"title": "What Students are Saying About McClymonds' Closure",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n a news cycle like ours, the closure of McClymonds High School in West Oakland might seem overshadowed by national headlines about the Grand Princess cruise ship, which on Monday carried people with coronavirus to the Port of Oakland.\u003c/p>\n\u003cp>But the McClymonds story is important. It’s a site where trichloroethylene (TCE), a cancer-causing chemical, was found in the groundwater late last month. And after two and a half weeks away from campus, it’s where students are scheduled to return to next week.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In addition to TCE, the school is surrounded by a horseshoe-shaped freeway structure, thousands of shipping trucks and underground storage tanks– a number of them have resulted in documented leaks. That’s because West Oakland was an industrial bastion for the greater part of the 20th century. Numerous factories, plants and warehouses have sullied its soil. (The city’s only known EPA Superfund Site—a cleanup priority for the EPA— is \u003ca href=\"https://cumulis.epa.gov/supercpad/cursites/csitinfo.cfm?id=0905334\" target=\"_blank\" rel=\"noopener noreferrer\">AMCO Chemical\u003c/a> in West Oakland.) \u003ca href=\"http://acphd.org/media/496252/air-pollution-health-impacts-west-oakland-acphd-2018.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">It’s home\u003c/a> to Alameda County’s highest levels of asthma and lowest life expectancy.\u003c/p>\n\u003cp>And who lives in West Oakland? During the decades of rampant redlining, it was one of the few places in the Bay Area African Americans could freely move into. That’s why McClymonds, historically, is a predominantly African American school. It’s also known for its legendary alums (Bill Russell and Frank Robinson, to name a few) and honored for its football team recently winning the state championship \u003ca href=\"https://www.sfgate.com/sports/article/McClymonds-is-a-state-football-champion-for-3rd-13469769.php\" target=\"_blank\" rel=\"noopener noreferrer\">three times in a row\u003c/a>. It’s a pillar of the community, and even with the changing demographics in the neighborhood due to gentrification, the school’s \u003ca href=\"https://www.publicschoolreview.com/mcclymonds-high-school-profile\" target=\"_blank\" rel=\"noopener noreferrer\">reported population\u003c/a> of 372 students is still 80% African American.\u003c/p>\n\u003cp>Much of the coverage of McClymonds’ closure has centered on input from adults: elected officials, parents and school administrators. But what’s it like to be a student, in a literally toxic environment? I wanted to find out.\u003c/p>\n\u003cfigure id=\"attachment_13876186\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8532-800x535.jpg\" alt=\"Shoes and Shakur. Some of the items inside of the Restorative Justice Circle. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shoes and Shakur. Some of the items inside of the Restorative Justice Circle. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>nside the staff room at Ralph J. Bunche Academy in West Oakland, Saba Ghebreyesus (or Ms. Saba as the students call her), director of the youth-led multimedia platform \u003ca href=\"https://www.instagram.com/direct/t/340282366841710300949128149233437389874\" target=\"_blank\" rel=\"noopener noreferrer\">IceeHouse\u003c/a>, stood at the dry-erase board writing the agreements for a restorative justice circle. A few minutes later, a handful of students from McClymonds trickled in, followed by a teacher, Mr. Taylor (not to be confused with the McClymonds principal, Jeffrey Taylor, who was also present, as well as Oakland Unified School District Administrator Vanessa Sifuentes-Dimaano).\u003c/p>\n\u003cp>The goal of the circle at Bunche, where McClymonds students were temporarily relocated, was to give young folks an opportunity to discuss how they’re processing the news that a potentially harmful chemical was discovered under their school just weeks ago.\u003c/p>\n\u003cp>The door closed and the students sat in a circle around a few items: an old sidekick two-way, a brick cellphone, the \u003cem>Tupac Shakur Legacy\u003c/em> book by Jamal Joseph, and the talking piece: a miniature statue of people in a rowboat. After some warm-up questions, Ms. Saba asked, “What was running through your mind and what were you feeling when you first heard a hazardous chemical was found at McClymonds?”\u003c/p>\n\u003cp>“To be honest, I just kinda seen it as no school for us last week,” said a ninth grader named Christopher as he let out a slight laugh.\u003c/p>\n\u003cp>Miles, a 10th grader, brought up Ramone Sanders, a McClymonds alumnus who was diagnosed with cancer at 19 years old in 2019. “It was kind of like, wow, that could have really been responsible for his death,” he said. “And they could shut down the whole school because of that.”\u003c/p>\n\u003cfigure id=\"attachment_13876187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8548-800x535.jpg\" alt=\"Dwayne, a senior at McClymonds stands in the hallway at Ralph J. Bunche Academy in West Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne, a senior at McClymonds stands in the hallway at Ralph J. Bunche Academy in West Oakland \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other students brought up concerns about how missing class could impact their academic success. “Was that going to affect my credits? Was that going to affect my graduation?” asked a 12th grader named Neyionna. “The TCE, how long has it really been there?… I’m just saying, Mack just needs to be rebuilt, I think, because where Mack is, is an industrial area: the factories, the gas stations… And it’s all black [people], so yeah, I think that’s kinda racist,” she concluded.\u003c/p>\n\u003cp>A senior named Dwayne pointed out that news of contamination affected his and other students’ mental health. “I have something called generalized anxiety disorder. It gets triggered by events like this,” he said. “I’m a hypochondriac as well. So, I was like, ‘I definitely have cancer.'”\u003c/p>\n\u003cp>He shared that he’s angry and confused, and that his trust in the adults in charge has been shaken. “If McClymonds were to burn down that day, what would be the plan OUSD would implement for all of this?” he asked. “Is there a plan in place for a natural disaster? It just seems like it took a little too long for us to have a plan.”\u003c/p>\n\u003cp>Ashely, another senior, said, “It’s really stressful … It’s like: Oh, my god, again? We have ANOTHER issue at McClymonds? It’s just irritating, I don’t want to go through it.” She said moving campuses, dealing with this and ‘senior-itis’ is a lot. “I just want to give up.”\u003c/p>\n\u003cp>“My initial reaction was to do my research so I don’t make any wrong assumptions about what’s going on,” said Themba, a senior who wants to go to college to become a chemical engineer. “Let me figure out what’s going on, what’s TCE; I don’t want to just hear ‘it’s cancer.’ Let me figure out what it does, what’s the chemical?”\u003c/p>\n\u003cp>Despite his knack for information gathering, Themba said he didn’t attend any of the community meetings held after the discovery of the chemical “because I knew it was going to be hectic, I knew it was going loud,” he said, adding that he questioned people’s intentions: “Who are you really fighting for? Where do you stand? … Are you really here for the kids who want to learn?”\u003c/p>\n\u003cp>Ms. Saba received the talking piece from Themba and said, “This is not just about McClymonds, this is about something bigger than McClymonds. This is about years of environmental waste that’s impacting a specific community, when I say years, I’m talking about 30 to 40 years of history.”\u003c/p>\n\u003cp>(\u003cem>Longer even\u003c/em>, I thought to myself.)\u003c/p>\n\u003cfigure id=\"attachment_13876189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8531-800x535.jpg\" alt=\"Christopher and the talking piece, Seraiah sitting behind him\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher and the talking piece, Seraiah sitting behind him \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Suddenly, a noise outside the door interrupted the discussion. \u003cem>I’m about to slap these little girls in the face, so somebody better go get them right now\u003c/em>, said an adult’s voice from the hallway. \u003cem>Where is the principal? … I’m not dealing with this anymore. I done had every emotion this week, and they want to come in here being disrespectful…\u003c/em>\u003c/p>\n\u003cp>Clearly, tensions were high, and even the adults were on edge. Our circle sat quietly as the voice outside passed by.\u003c/p>\n\u003cp>Principal Taylor briefly stepped out to address the noise, while Ms. Saba broke the silence. “I don’t want ya’ll to get distracted, I want ya’ll to focus on what ya’ll want to share and what’s important to ya’ll. We have one more question before we close out.”\u003c/p>\n\u003cp>She instructed everyone to take a deep breath. “What do you think needs to be done to make things as right as possible? And what do you need? What do you personally need from your principal and from yourself and from your peers?” asked Ms. Saba.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Principal Taylor held the talking piece and said, “From everybody, we need a little compassion and a little understanding. Everybody’s anxiety levels are already past ten… The students, I need them to understand that, it’s not their fault, and it’s not our fault.”\u003c/p>\n\u003cp>Principal Taylor then somberly brought up \u003ca href=\"https://www.eastbaytimes.com/2017/07/06/funeral-services-set-for-mcclymonds-football-standout-darryl-aikens/\" target=\"_blank\" rel=\"noopener noreferrer\">Darryl Aikens\u003c/a>, who was one of his students and who died of leukemia in 2017. “Everybody keeps using him as an excuse, you know, ‘He caught cancer from the school,’” Principal Taylor said in air-quotes.\u003c/p>\n\u003cp>“They don’t even know his mom. Don’t know his family. And they keep putting him out there, and it’s making his mother sick. His grandmother sick… I just want it to stop.”\u003c/p>\n\u003cp>Vanessa from OUSD’s central office took the talking piece, and noted that “compassion and empathy” are required on all fronts; she concluded by asking that the students, “Continue to be that voice.”\u003c/p>\n\u003cfigure id=\"attachment_13876192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8541-800x535.jpg\" alt=\"Miles talks while Principal Taylor sits in the background\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miles talks while Principal Taylor sits in the background. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>iles, designer scarf around his forehead and a big jacket, took the talking piece and brought the discussion to another form of toxicity that exists at many schools, not just McClymonds. “What I need from the staff is for them to show that they actually care,” he said.\u003c/p>\n\u003cp>He noted that some faculty members bring their own issues with them to the classroom, and leave it to the students to educate themselves.\u003c/p>\n\u003cp>“You’re supposed to be teaching us, we’re not adults yet. I’m only in the 10th grade,” said Miles. “They’re looking at us like we’re 35. Like we’re supposed to be teaching them. They’ve gotta teach us.” He was met with at least one person’s supportive applause when he made that point.\u003c/p>\n\u003cp>The talking piece landed back in Ms. Saba’s hands. She closed the circle by thanking all the participants and ended by sharing a quote from Margaret Mead.\u003c/p>\n\u003cp>“Never doubt that a small group of thoughtful, committed citizens can change the world,” she recited. “Indeed, it is the only thing that ever has.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"headline": "What Students are Saying About McClymonds' Closure",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n a news cycle like ours, the closure of McClymonds High School in West Oakland might seem overshadowed by national headlines about the Grand Princess cruise ship, which on Monday carried people with coronavirus to the Port of Oakland.\u003c/p>\n\u003cp>But the McClymonds story is important. It’s a site where trichloroethylene (TCE), a cancer-causing chemical, was found in the groundwater late last month. And after two and a half weeks away from campus, it’s where students are scheduled to return to next week.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In addition to TCE, the school is surrounded by a horseshoe-shaped freeway structure, thousands of shipping trucks and underground storage tanks– a number of them have resulted in documented leaks. That’s because West Oakland was an industrial bastion for the greater part of the 20th century. Numerous factories, plants and warehouses have sullied its soil. (The city’s only known EPA Superfund Site—a cleanup priority for the EPA— is \u003ca href=\"https://cumulis.epa.gov/supercpad/cursites/csitinfo.cfm?id=0905334\" target=\"_blank\" rel=\"noopener noreferrer\">AMCO Chemical\u003c/a> in West Oakland.) \u003ca href=\"http://acphd.org/media/496252/air-pollution-health-impacts-west-oakland-acphd-2018.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">It’s home\u003c/a> to Alameda County’s highest levels of asthma and lowest life expectancy.\u003c/p>\n\u003cp>And who lives in West Oakland? During the decades of rampant redlining, it was one of the few places in the Bay Area African Americans could freely move into. That’s why McClymonds, historically, is a predominantly African American school. It’s also known for its legendary alums (Bill Russell and Frank Robinson, to name a few) and honored for its football team recently winning the state championship \u003ca href=\"https://www.sfgate.com/sports/article/McClymonds-is-a-state-football-champion-for-3rd-13469769.php\" target=\"_blank\" rel=\"noopener noreferrer\">three times in a row\u003c/a>. It’s a pillar of the community, and even with the changing demographics in the neighborhood due to gentrification, the school’s \u003ca href=\"https://www.publicschoolreview.com/mcclymonds-high-school-profile\" target=\"_blank\" rel=\"noopener noreferrer\">reported population\u003c/a> of 372 students is still 80% African American.\u003c/p>\n\u003cp>Much of the coverage of McClymonds’ closure has centered on input from adults: elected officials, parents and school administrators. But what’s it like to be a student, in a literally toxic environment? I wanted to find out.\u003c/p>\n\u003cfigure id=\"attachment_13876186\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8532-800x535.jpg\" alt=\"Shoes and Shakur. Some of the items inside of the Restorative Justice Circle. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shoes and Shakur. Some of the items inside of the Restorative Justice Circle. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>nside the staff room at Ralph J. Bunche Academy in West Oakland, Saba Ghebreyesus (or Ms. Saba as the students call her), director of the youth-led multimedia platform \u003ca href=\"https://www.instagram.com/direct/t/340282366841710300949128149233437389874\" target=\"_blank\" rel=\"noopener noreferrer\">IceeHouse\u003c/a>, stood at the dry-erase board writing the agreements for a restorative justice circle. A few minutes later, a handful of students from McClymonds trickled in, followed by a teacher, Mr. Taylor (not to be confused with the McClymonds principal, Jeffrey Taylor, who was also present, as well as Oakland Unified School District Administrator Vanessa Sifuentes-Dimaano).\u003c/p>\n\u003cp>The goal of the circle at Bunche, where McClymonds students were temporarily relocated, was to give young folks an opportunity to discuss how they’re processing the news that a potentially harmful chemical was discovered under their school just weeks ago.\u003c/p>\n\u003cp>The door closed and the students sat in a circle around a few items: an old sidekick two-way, a brick cellphone, the \u003cem>Tupac Shakur Legacy\u003c/em> book by Jamal Joseph, and the talking piece: a miniature statue of people in a rowboat. After some warm-up questions, Ms. Saba asked, “What was running through your mind and what were you feeling when you first heard a hazardous chemical was found at McClymonds?”\u003c/p>\n\u003cp>“To be honest, I just kinda seen it as no school for us last week,” said a ninth grader named Christopher as he let out a slight laugh.\u003c/p>\n\u003cp>Miles, a 10th grader, brought up Ramone Sanders, a McClymonds alumnus who was diagnosed with cancer at 19 years old in 2019. “It was kind of like, wow, that could have really been responsible for his death,” he said. “And they could shut down the whole school because of that.”\u003c/p>\n\u003cfigure id=\"attachment_13876187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8548-800x535.jpg\" alt=\"Dwayne, a senior at McClymonds stands in the hallway at Ralph J. Bunche Academy in West Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne, a senior at McClymonds stands in the hallway at Ralph J. Bunche Academy in West Oakland \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other students brought up concerns about how missing class could impact their academic success. “Was that going to affect my credits? Was that going to affect my graduation?” asked a 12th grader named Neyionna. “The TCE, how long has it really been there?… I’m just saying, Mack just needs to be rebuilt, I think, because where Mack is, is an industrial area: the factories, the gas stations… And it’s all black [people], so yeah, I think that’s kinda racist,” she concluded.\u003c/p>\n\u003cp>A senior named Dwayne pointed out that news of contamination affected his and other students’ mental health. “I have something called generalized anxiety disorder. It gets triggered by events like this,” he said. “I’m a hypochondriac as well. So, I was like, ‘I definitely have cancer.'”\u003c/p>\n\u003cp>He shared that he’s angry and confused, and that his trust in the adults in charge has been shaken. “If McClymonds were to burn down that day, what would be the plan OUSD would implement for all of this?” he asked. “Is there a plan in place for a natural disaster? It just seems like it took a little too long for us to have a plan.”\u003c/p>\n\u003cp>Ashely, another senior, said, “It’s really stressful … It’s like: Oh, my god, again? We have ANOTHER issue at McClymonds? It’s just irritating, I don’t want to go through it.” She said moving campuses, dealing with this and ‘senior-itis’ is a lot. “I just want to give up.”\u003c/p>\n\u003cp>“My initial reaction was to do my research so I don’t make any wrong assumptions about what’s going on,” said Themba, a senior who wants to go to college to become a chemical engineer. “Let me figure out what’s going on, what’s TCE; I don’t want to just hear ‘it’s cancer.’ Let me figure out what it does, what’s the chemical?”\u003c/p>\n\u003cp>Despite his knack for information gathering, Themba said he didn’t attend any of the community meetings held after the discovery of the chemical “because I knew it was going to be hectic, I knew it was going loud,” he said, adding that he questioned people’s intentions: “Who are you really fighting for? Where do you stand? … Are you really here for the kids who want to learn?”\u003c/p>\n\u003cp>Ms. Saba received the talking piece from Themba and said, “This is not just about McClymonds, this is about something bigger than McClymonds. This is about years of environmental waste that’s impacting a specific community, when I say years, I’m talking about 30 to 40 years of history.”\u003c/p>\n\u003cp>(\u003cem>Longer even\u003c/em>, I thought to myself.)\u003c/p>\n\u003cfigure id=\"attachment_13876189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8531-800x535.jpg\" alt=\"Christopher and the talking piece, Seraiah sitting behind him\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher and the talking piece, Seraiah sitting behind him \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Suddenly, a noise outside the door interrupted the discussion. \u003cem>I’m about to slap these little girls in the face, so somebody better go get them right now\u003c/em>, said an adult’s voice from the hallway. \u003cem>Where is the principal? … I’m not dealing with this anymore. I done had every emotion this week, and they want to come in here being disrespectful…\u003c/em>\u003c/p>\n\u003cp>Clearly, tensions were high, and even the adults were on edge. Our circle sat quietly as the voice outside passed by.\u003c/p>\n\u003cp>Principal Taylor briefly stepped out to address the noise, while Ms. Saba broke the silence. “I don’t want ya’ll to get distracted, I want ya’ll to focus on what ya’ll want to share and what’s important to ya’ll. We have one more question before we close out.”\u003c/p>\n\u003cp>She instructed everyone to take a deep breath. “What do you think needs to be done to make things as right as possible? And what do you need? What do you personally need from your principal and from yourself and from your peers?” asked Ms. Saba.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Principal Taylor held the talking piece and said, “From everybody, we need a little compassion and a little understanding. Everybody’s anxiety levels are already past ten… The students, I need them to understand that, it’s not their fault, and it’s not our fault.”\u003c/p>\n\u003cp>Principal Taylor then somberly brought up \u003ca href=\"https://www.eastbaytimes.com/2017/07/06/funeral-services-set-for-mcclymonds-football-standout-darryl-aikens/\" target=\"_blank\" rel=\"noopener noreferrer\">Darryl Aikens\u003c/a>, who was one of his students and who died of leukemia in 2017. “Everybody keeps using him as an excuse, you know, ‘He caught cancer from the school,’” Principal Taylor said in air-quotes.\u003c/p>\n\u003cp>“They don’t even know his mom. Don’t know his family. And they keep putting him out there, and it’s making his mother sick. His grandmother sick… I just want it to stop.”\u003c/p>\n\u003cp>Vanessa from OUSD’s central office took the talking piece, and noted that “compassion and empathy” are required on all fronts; she concluded by asking that the students, “Continue to be that voice.”\u003c/p>\n\u003cfigure id=\"attachment_13876192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8541-800x535.jpg\" alt=\"Miles talks while Principal Taylor sits in the background\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miles talks while Principal Taylor sits in the background. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>iles, designer scarf around his forehead and a big jacket, took the talking piece and brought the discussion to another form of toxicity that exists at many schools, not just McClymonds. “What I need from the staff is for them to show that they actually care,” he said.\u003c/p>\n\u003cp>He noted that some faculty members bring their own issues with them to the classroom, and leave it to the students to educate themselves.\u003c/p>\n\u003cp>“You’re supposed to be teaching us, we’re not adults yet. I’m only in the 10th grade,” said Miles. “They’re looking at us like we’re 35. Like we’re supposed to be teaching them. They’ve gotta teach us.” He was met with at least one person’s supportive applause when he made that point.\u003c/p>\n\u003cp>The talking piece landed back in Ms. Saba’s hands. She closed the circle by thanking all the participants and ended by sharing a quote from Margaret Mead.\u003c/p>\n\u003cp>“Never doubt that a small group of thoughtful, committed citizens can change the world,” she recited. “Indeed, it is the only thing that ever has.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Throughout last year, the steel and concrete frame of a new building in downtown Oakland grew to obscure a sprawling mural. Protesters with picket signs disappeared from view, along with dancers, drummers and martial arts practitioners, leaving the faces of centerpieces Malonga Casquelourd and Ruth Beckford, pillars of the city’s black performing arts tradition. To passersby today the entire artwork is imperceptible behind an incoming housing development. [aside postID=arts_13861153,arts_13875113,arts_13866026,arts_13861121]\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em>, a forthcoming documentary by Spencer Wilkinson, shows how the \u003cem>Universal Language\u003c/em> mural’s creation and erasure alike catalyzed a multiracial anti-gentrification coalition with significant, ongoing effects on real estate development and city planning in downtown Oakland. Set in just a few city blocks, it’s a story about intractable loss as well as collective refusal, depicting artists’ role in grassroots activism that builds power by bridging communities.\u003c/p>\n\u003cp>Wilkinson, 44, an Oakland filmmaker whose first feature, \u003cem>One Voice\u003c/em> (2018), focused on the Oakland Interfaith Gospel Choir, did not anticipate filming for five years when he started chronicling the mural’s design as part of a work-trade deal in 2014. Now he’s submitting the 70-minute \u003cem>\u003ca href=\"https://alicestreetfilm.com/\">Alice Street\u003c/a>\u003c/em> documentary to film festivals and arranging screenings in other cities grappling with gentrification. Wilkinson expects to announce more Bay Area screenings in the coming months.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=1lJRPZLuY9c&w=560&h=315]\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em> begins with Destiny Muhammad reciting a poem at the corner of 14th and Alice streets in downtown Oakland to subtle, vaguely religious music by Micah Berek. “An intersection of traditions, ancient rhythms, culture keepers and urban oracles,” she says. A montage shows the neighborhood’s cultural diversity and changing built environment. The credits roll, framed by cranes. Imposed on aerial footage of the low-slung flatlands are sharply rising housing costs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film shortly settles on aerosol artist Desi Mundo and studio painter Pancho Pescador of the Community Rejuvenation Project embarking on their largest mural yet: Four walls around a parking lot at Alice and 14th streets. For inspiration, they look directly across the street to the Malonga Casquelourd Center for the Arts, a historic city-owned hub of Afro-diasporic drumming and dance, and also to the Chinatown senior apartments and community center Hotel Oakland.\u003c/p>\n\u003cp>The story has no single conflict or antagonist. The challenge at first appears to be the muralists’ desire to represent two communities to which they’re admitted outsiders, and the project’s most outspoken opponent is an elderly white woman who objects to its exclusion of white people. As soon as the mural is designed and painted to the satisfaction of most neighborhood stakeholders, though, a housing development proposal threatens to render it totally invisible.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2014/07/Mural-Wide.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014.' width=\"800\" height=\"533\" class=\"size-full wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the Bay Area are starting to see the benefits of Oakland,” says Maria Poncel of Bay Development, explaining to Mundo and Pescador that the mural will continue to exist behind the planned 16-story tower. “We’re going through sort of a second renaissance.” It’s one of several awkward remarks from developers, property owners and elected officials (has Mayor Libby Schaaf retired “secret sauce”?) that Wilkinson seems to highlight for their evident shallowness.\u003c/p>\n\u003cp>Halfway through the documentary, then, the mural intended to celebrate cultures at risk of displacement itself confronts disappearance, multiplying its symbolic potency. And the Malonga-Hotel Oakland bloc strengthened through the mural’s development acquires political power that Wilkinson—using interviews and historical flashbacks about racist city planning practices and housing discrimination in Oakland—casts in a longer lineage of racial solidarity.\u003c/p>\n\u003cp>The goal of the new coalition isn’t immediately evident in the documentary. Theo Williams, leader of Malonga tenant SambaFunk, says at a meeting that he doesn’t necessarily oppose the development, yet no one in the film persuasively argues on its behalf. Complicating the narrative are new problems: Noise complaints resurface concerns about intolerant new neighbors to the Malonga, and the activists crash a city planning process, demanding meaningful representation.\u003c/p>\n\u003cfigure id=\"attachment_13875809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg\" alt=\"The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts.\" width=\"1920\" height=\"1069\" class=\"size-full wp-image-13875809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-1020x568.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unsurprisingly for grassroots activism, it’s a dizzying cycle of setback and success. A subplot about Jerry Brown’s early 2000s attempt as Oakland mayor to shutter what was then the Alice Arts Center is a welcome rejoinder to recent hagiography, but it creates some narrative whiplash. Still, the story regains focus when the coalition formally appeals the building’s planning commission approval in order to negotiate a community benefits agreement with the developer.\u003c/p>\n\u003cp>The coalition secured funds for the Malonga and for a replacement mural (now being designed for the wall of the Greenlining Institute nearby). It also modeled a strategy since used by the coalition to extract concessions from developers worth an estimated $20 million, organizer Eric Arnold says in the film—including 90 affordable homes. With this tactic the same activists \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently won\u003c/a> a raft of benefits for arts groups in the Kaiser Convention Center redevelopment.\u003c/p>\n\u003cp>“Resilience” is too often a buzzword that serves to normalize communities’ capacity to withstand abuse, especially from the mouths of powerful people in media and politics. It’s also too flat for the dynamic artist-activists shown in \u003cem>Alice Street\u003c/em>, who dance in the streets and navigate city bureaucracy with equal verve. “And then we marched over to the planning office,” recalls Arnold of one decisive action. “It was probably the first time they’ve heard music inside of that office.”\u003c/p>\n\u003cfigure id=\"attachment_13875810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg\" alt=\"The 'Universal Language' mural is today completely obscured by a housing development.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Universal Language’ mural is today completely obscured by a housing development. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inevitably some of the story lines in \u003cem>Alice Street\u003c/em> go unresolved. The cultural stabilization strategies in the Downtown Oakland Specific Plan published last year derive partly from activism shown in the film, but supporters are \u003ca href=\"https://www.kqed.org/arts/13866026/will-oaklands-new-plan-to-protect-downtown-arts-and-culture-succeed\">disappointed\u003c/a> with what little officials have done to enact them. Likewise, tenants of the city-owned Malonga continue to feel chronically neglected, with Williams of SambaFunk recently \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">telling KQED\u003c/a> its problems haven’t changed since 1998.\u003c/p>\n\u003cp>Still, the documentary also captures a heartening generational shift. Standout interviewees Beckford and Michael Lange, the actor and director, died before the film’s completion, but \u003cem>Alice Street\u003c/em> shows their commitment to Oakland’s cultural life enduring in Lailan Sandra Huen, Anyka Barber, Casquelourd’s son Kiazi Malonga and others. Wilkinson, meanwhile, is developing educational curriculum to promote the community benefits agreement model beyond Oakland.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It probably doesn’t feel like a silver lining to the muralists, but the four walls of \u003cem>Universal Language\u003c/em> haven’t been buffed or repainted. The artwork remains. Recently on Broadway, demolition exposed some mid-20th century advertisements on the side of a building, relics of a barely-recognizable city. It suggests the possibility that \u003cem>Universal Language\u003c/em> could daylight again in the lifetime of Oakland’s current residents. The question is who among us will be here to see.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout last year, the steel and concrete frame of a new building in downtown Oakland grew to obscure a sprawling mural. Protesters with picket signs disappeared from view, along with dancers, drummers and martial arts practitioners, leaving the faces of centerpieces Malonga Casquelourd and Ruth Beckford, pillars of the city’s black performing arts tradition. To passersby today the entire artwork is imperceptible behind an incoming housing development. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em>, a forthcoming documentary by Spencer Wilkinson, shows how the \u003cem>Universal Language\u003c/em> mural’s creation and erasure alike catalyzed a multiracial anti-gentrification coalition with significant, ongoing effects on real estate development and city planning in downtown Oakland. Set in just a few city blocks, it’s a story about intractable loss as well as collective refusal, depicting artists’ role in grassroots activism that builds power by bridging communities.\u003c/p>\n\u003cp>Wilkinson, 44, an Oakland filmmaker whose first feature, \u003cem>One Voice\u003c/em> (2018), focused on the Oakland Interfaith Gospel Choir, did not anticipate filming for five years when he started chronicling the mural’s design as part of a work-trade deal in 2014. Now he’s submitting the 70-minute \u003cem>\u003ca href=\"https://alicestreetfilm.com/\">Alice Street\u003c/a>\u003c/em> documentary to film festivals and arranging screenings in other cities grappling with gentrification. Wilkinson expects to announce more Bay Area screenings in the coming months.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1lJRPZLuY9c'\n title='//www.youtube.com/embed/1lJRPZLuY9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em> begins with Destiny Muhammad reciting a poem at the corner of 14th and Alice streets in downtown Oakland to subtle, vaguely religious music by Micah Berek. “An intersection of traditions, ancient rhythms, culture keepers and urban oracles,” she says. A montage shows the neighborhood’s cultural diversity and changing built environment. The credits roll, framed by cranes. Imposed on aerial footage of the low-slung flatlands are sharply rising housing costs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film shortly settles on aerosol artist Desi Mundo and studio painter Pancho Pescador of the Community Rejuvenation Project embarking on their largest mural yet: Four walls around a parking lot at Alice and 14th streets. For inspiration, they look directly across the street to the Malonga Casquelourd Center for the Arts, a historic city-owned hub of Afro-diasporic drumming and dance, and also to the Chinatown senior apartments and community center Hotel Oakland.\u003c/p>\n\u003cp>The story has no single conflict or antagonist. The challenge at first appears to be the muralists’ desire to represent two communities to which they’re admitted outsiders, and the project’s most outspoken opponent is an elderly white woman who objects to its exclusion of white people. As soon as the mural is designed and painted to the satisfaction of most neighborhood stakeholders, though, a housing development proposal threatens to render it totally invisible.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2014/07/Mural-Wide.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014.' width=\"800\" height=\"533\" class=\"size-full wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the Bay Area are starting to see the benefits of Oakland,” says Maria Poncel of Bay Development, explaining to Mundo and Pescador that the mural will continue to exist behind the planned 16-story tower. “We’re going through sort of a second renaissance.” It’s one of several awkward remarks from developers, property owners and elected officials (has Mayor Libby Schaaf retired “secret sauce”?) that Wilkinson seems to highlight for their evident shallowness.\u003c/p>\n\u003cp>Halfway through the documentary, then, the mural intended to celebrate cultures at risk of displacement itself confronts disappearance, multiplying its symbolic potency. And the Malonga-Hotel Oakland bloc strengthened through the mural’s development acquires political power that Wilkinson—using interviews and historical flashbacks about racist city planning practices and housing discrimination in Oakland—casts in a longer lineage of racial solidarity.\u003c/p>\n\u003cp>The goal of the new coalition isn’t immediately evident in the documentary. Theo Williams, leader of Malonga tenant SambaFunk, says at a meeting that he doesn’t necessarily oppose the development, yet no one in the film persuasively argues on its behalf. Complicating the narrative are new problems: Noise complaints resurface concerns about intolerant new neighbors to the Malonga, and the activists crash a city planning process, demanding meaningful representation.\u003c/p>\n\u003cfigure id=\"attachment_13875809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg\" alt=\"The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts.\" width=\"1920\" height=\"1069\" class=\"size-full wp-image-13875809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-1020x568.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unsurprisingly for grassroots activism, it’s a dizzying cycle of setback and success. A subplot about Jerry Brown’s early 2000s attempt as Oakland mayor to shutter what was then the Alice Arts Center is a welcome rejoinder to recent hagiography, but it creates some narrative whiplash. Still, the story regains focus when the coalition formally appeals the building’s planning commission approval in order to negotiate a community benefits agreement with the developer.\u003c/p>\n\u003cp>The coalition secured funds for the Malonga and for a replacement mural (now being designed for the wall of the Greenlining Institute nearby). It also modeled a strategy since used by the coalition to extract concessions from developers worth an estimated $20 million, organizer Eric Arnold says in the film—including 90 affordable homes. With this tactic the same activists \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently won\u003c/a> a raft of benefits for arts groups in the Kaiser Convention Center redevelopment.\u003c/p>\n\u003cp>“Resilience” is too often a buzzword that serves to normalize communities’ capacity to withstand abuse, especially from the mouths of powerful people in media and politics. It’s also too flat for the dynamic artist-activists shown in \u003cem>Alice Street\u003c/em>, who dance in the streets and navigate city bureaucracy with equal verve. “And then we marched over to the planning office,” recalls Arnold of one decisive action. “It was probably the first time they’ve heard music inside of that office.”\u003c/p>\n\u003cfigure id=\"attachment_13875810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg\" alt=\"The 'Universal Language' mural is today completely obscured by a housing development.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Universal Language’ mural is today completely obscured by a housing development. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inevitably some of the story lines in \u003cem>Alice Street\u003c/em> go unresolved. The cultural stabilization strategies in the Downtown Oakland Specific Plan published last year derive partly from activism shown in the film, but supporters are \u003ca href=\"https://www.kqed.org/arts/13866026/will-oaklands-new-plan-to-protect-downtown-arts-and-culture-succeed\">disappointed\u003c/a> with what little officials have done to enact them. Likewise, tenants of the city-owned Malonga continue to feel chronically neglected, with Williams of SambaFunk recently \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">telling KQED\u003c/a> its problems haven’t changed since 1998.\u003c/p>\n\u003cp>Still, the documentary also captures a heartening generational shift. Standout interviewees Beckford and Michael Lange, the actor and director, died before the film’s completion, but \u003cem>Alice Street\u003c/em> shows their commitment to Oakland’s cultural life enduring in Lailan Sandra Huen, Anyka Barber, Casquelourd’s son Kiazi Malonga and others. Wilkinson, meanwhile, is developing educational curriculum to promote the community benefits agreement model beyond Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It probably doesn’t feel like a silver lining to the muralists, but the four walls of \u003cem>Universal Language\u003c/em> haven’t been buffed or repainted. The artwork remains. Recently on Broadway, demolition exposed some mid-20th century advertisements on the side of a building, relics of a barely-recognizable city. It suggests the possibility that \u003cem>Universal Language\u003c/em> could daylight again in the lifetime of Oakland’s current residents. The question is who among us will be here to see.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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